Audiovisual preservation

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

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

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Audiovisual preservation

From the Point of View of Selected Philippine Academic Libraries

Christine M. AbrigoDe La Salle University Library

Manila, Philippines

Archives Congress 2012Towards Multi-Ethnic Archiving in the Postmodern Era

17-18 November 2012Ateneo de Davao University

Roxas Avenue, Davao City

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Some concepts to start off…Audiovisual heritageAudiovisual archivesAudiovisual archivingAudiovisual preservation

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Audiovisual heritage

Products of :Entertainment industryElectronic mass mediaRadioTelevision

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Audiovisual archives

•an organization or department of an organization

• focused on collecting, managing, preserving and providing access to a collection of audiovisual media and the audiovisual heritage, applying archival principles

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Types of AV Archive

Academic– in universities; research/educational materials;

maybe small/specializedSpecialized or thematic

– concentrate on a particular format, subject-matter or locality, or relate to specific cultural groups

Production– Film companies, broadcasting companies and

record companies maintain archives for use and exploitation by the parent company

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Audiovisual archiving

•a custodial profession•a small and young profession•originated in a variety of institutional

environments

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Who may be the boss?

•Librarian•Archivist•Conservator•Curator•AV archivist▫Not librarians, like archivists

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Audio-visual preservation

is the totality of things necessary to ensure the permanent accessibility, with minimum loss of quality, of the

visual or sonic content or other essential attributes of the work

concerned. (Edmondson, 2002)

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Preserving the here and now• Safeguarding the information, not the

carrier per se

• Protection of the intangible heritage

• Storage is a simple act of preservation that prolongs the collection’s lifeline

• Preservation policy – a good backbone for media libraries

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AV

Pre

serv

atio

n in

the

Ph

ilipp

ines

The Philippines has an enduring history of film and television industry

Libraries collect and preserve AV materials in magnetic format for the longest time

Preservation copies are made using the same media

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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AV Preservation Practices of Selected Academic Media LibrariesThe Study

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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A bit of an overview…

•Abrigo, C.M. and V.M. Abrigo. 2010.Audio-visual preservation: a perpetual dilemma among selected Philippine academic libraries.

•Presented at the JTS 2010: Digital Challenges and Digital Opportunities in Audiovisual Archiving, 02-05 May 2010, Oslo, Norway

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•The international gathering for all specialists of the audio-visual, cinema and sound heritage

•Happens every 3 years•A FIAF Congress joint event

Organized by:

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Participation was made possible by:

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The Study in gist

•Focused on three (3) academic media libraries

•Preservation dilemma: media obsolescence

•Two (2)-year-old data ▫conducted in March 2010

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Universities under study

Multi-ethnic• As an academic community• Program-wise

Culturally diverse

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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Media Libraries in Universities•Maintain media resource centers to

complement their print collection

•Curricular support is the primary thrust

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Media center (library)

vs.

Film/AV archive

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Subjects of the study

Ateneo de Manila

University(Rizal Library)

De La Salle University

Library(DLSU Library)

University of the Philippines

Diliman(UP Diliman

Library)

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AV collection make up [1/2]

Coverage --• local and foreign documentaries with

socio-cultural and political contexts•humanities• language studies•general interest• feature films•music of various genre (i.e., pop, folk,

ethnic, oral history, et al.)

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AV collection make up [2/2]

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On Preservation

No written preservation policy

Rule-of-thumb procedures

Storage conditions

Air-conditioned room

Budget

Grant-seeking

Human resources / Training

Improvisation/initiative self-training

ISSUE SOLUTION

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On Obsolescence [1/2]

•Obsolescence is felt whenever video and sound recordings on tape is being played▫Playback machines and magnetic tapes are

rapidly disappearing in the Philippine market

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On Obsolescence [2/2]

•Refreshing became the common preservation practice▫Ensures continuity and sustainability of the

information contained in carriers

•Migration later became the strategy▫Triggered by playback machines going out

of the market

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AV Preservation Practices 2 years later...

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Cultural heritage could now be captured by anyone at anytime

with ease.

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Cultural heritage is now more flexible to share and modify.

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Cultural heritage is now a digital heritage.

"Our digital heritage – only a few decades

old – is already endangered.”

(Findlay, 2002)ENDANGERED!!!

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Current realities

•Life cycle of audiovisual materials has turned around technologically

•AV delivery has become more content-driven

•Access is crucial

Academic media centers in the Philippines are also braving the same waters of digital

AV preservation.

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Preserving the intangible and setting it free•Focus of academic media centers:

enabling massive access to AV content

•Preservation work must take off

•Academic media librarian: as custodian and as preservationist

•AV preservation program is essential

•Preservation‐on‐demand becomes the smart solution to preserve AV content

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Revisiting ADMU, DLSU and UPD in 2012

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Rizal Library

•Analog to digital transfer (preservation practice) began in 2010

•Preservation on demand▫First priority – video

recordings▫Second priority –

sound recordings

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DLSU Library•Analog to digital

transfer is the preservation practice

•Preservation on demand▫First priority – video

recordings▫Second priority –

sound recordings

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UP Diliman Library•Analog to digital

transfer is the preservation practice

•Preservation on demand▫First priority – video

recordings▫Second priority –

sound recordings

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AV collections transferred to digital files to preserve content and make

content accessible

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Their new AV preservation direction•Preservation strategy is heading towards

digital media preservation

•Towards mobility of AV content

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Conclusion

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In JTS 2010...

Long term digital storage

Digital AV archiving projects being done in Europe

Archiving of videos on the web

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Audio-visual Preservation: From the Point of View of Selected Philippine Aademic LibrariesC.M. Abrigo ARCHIVES CONGRESS 2012

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In SEAPAVAA 2012...

Creating and managing a digital AV archive

Legislations/copyrights of a

digital AV archive

Storage of an AV archive in

digital era

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Quoting Mr. Richard Wright...

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Quoting Mr. Richard Wright...

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Quoting Mr. Richard Wright...

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As for ADMU, DLSU and UPD...•Receptive to the needs of their users

•Aware of the current developments in AV arena

•Regard access to AV content

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Thank [email protected]

18 November 2012Archives Congress 2012

Davao City

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ReferencesEdmondson, R. (2004). Audiovisual archiving: philosophy and principles. Retrieved March 26, 2011 from http://www.ifap.ru/library/book104.pdf

Edmondson, R. (2002, March). SEAPAVAA manual for AV archives: an outline prepared for UNESCO. Retrieved August 1, 2009, from the South East Asia and Pacific Audio-Visual Archives Association: http://www.pia.gov.ph/seapavaa/downloadables/SEAPAVAAMANUALoutline.doc

 Feather, J. (2004). Introduction: principle and policies. In Feather, J. (Ed.), Managing preservation for libraries and archives: current practice and future developments (pp. 1-

25). England: Ashgate Publishing Limited. Martin, J. (2005). The dawn of tape: transmission device as preservation medium. The Moving Image, 5.1, 45-66. Retrieved July 29, 2009, from Project MUSE database. Puplick, C. (2009). Is our audio-visual heritage at risk and how can we work together to resolve these problems? Bandung, Indonesia: 13th South East Asia and Pacific Audio-

Visual Archives Association (SEAPAVAA) Conference. Retrieved August 1, 2009, from the South East Asia and Pacific Audio-Visual Archives Association: http://www.pia.gov.ph/seapavaa/papers/2009/s5-puplick.pdf

 Roads, C. (1981). Audio visual archiving in the context of South-East Asia: report prepared for the government of the republic of the Philippines by the United Nations

Educational, Scientific and Cultural Organization (UNESCO). Retrieved August 1, 2009, from http://unesdoc.unesco.org/images/0004/000470/047053eo.pdf Rothenberg, J. (1999, January). Avoiding technological quicksand: finding a viable technical foundation for digital preservation. Council on Library and Information Resources.

Retrieved July 31, 2009, from http://www.clir.org/pubs/reports/rothenberg/contents.html Schüller, D. (2004). Sound recordings: problems of preservation. In Feather, J. (Ed.), Managing preservation for libraries and archives: current practice and future developments

(pp. 113-131). England: Ashgate Publishing Limited. Smith, A. (1998, May/June). Preservation in the future tense. Council on Library and Information Resources, 3. Retrieved July 31, 2009, from

http://www.clir.org/pubs/issues/issues03.html#preserve Van Malssen, K. (2008). Joint Technical Symposium 2007: audiovisual heritage and the digital universe, University of Toronto, June 28–30, 2007. The Moving Image, 8 (2), 78-86.

Retrieved July 29, 2009, from Project MUSE database. Webb, C. (2004). The malleability of fire: preserving digital information. In Feather, J. (Ed.), Managing preservation for libraries and archives: current practice and future

developments (pp. 27-52). England: Ashgate Publishing Limited.

Image sources:http://www.high-techproductions.com/ColorBars2.gifhttp://www.remit.co.uk/UserFiles/Image/E_D_Calendar_Logo/worlddaycul_diver.jpghttp://www.cepro.com/images/uploads/videoformats_icons.jpghttp://cache.gizmodo.com/assets/images/4/2011/11/medium_b3c3a30a40fbbcc3539468079548d400.jpghttp://video48.blogspot.com/2012/03/post-war-tagalog-movies-105-ulilang.html