Audiovisual preservation strategies, data models and value-chains

This is a report on preservation strategies, models and value-chains for digital file-based audiovisual content. The report includes: (a)current and emerging value-chains and business-models for audiovisual preservation;(b) a comparison of preservation strategies for audiovisual content including their strengths and weaknesses, and(c) a review of current preservation metadata models, and requirements for extension to support audiovisual files

Multimedia information technology and the annotation of video

The state of the art in multimedia information technology has not progressed to the point where a single solution is available to meet all reasonable needs of documentalists and users of video archives. In general, we do not have an optimistic view of the usability of new technology in this domain, but digitization and digital power can be expected to cause a small revolution in the area of video archiving. The volume of data leads to two views of the future: on the pessimistic side, overload of data will cause lack of annotation capacity, and on the optimistic side, there will be enough data from which to learn selected concepts that can be deployed to support automatic annotation. At the threshold of this interesting era, we make an attempt to describe the state of the art in technology. We sample the progress in text, sound, and image processing, as well as in machine learning

Audiovisual research collections and their preservation

The basic problem of primary audio and video research materials is clearly shown by the survey: A great and important part of the entire heritage is still outside archival custody in the narrower sense, scattered over many institutions in fairy small collections, and even in private hands. reservation following generally accepted standards can only be carried out effectively if collections represent critical mass. Specialised audiovisual archives will solve their problems, as they will sooner or later succeed in getting appropriate funding to achieve their aims. A very encouraging example is the case of the Netherlands. The larger audiovisual research archives will also manage, more or less autonomously, the transfer of contents in time. For a considerable part of the research collections, however, the concept of cooperative models and competence centres is the only viable model to successfullly safeguard their holdings. Their organisation and funding is a considerable challenge for the scientific community. TAPE has significantly raised awareness of the fact that, unless action is swiftly taken, the loss of audiovisual materials is inevitable. TAPE’s international and regional workshops were generally overbooked. While TAPE was already underway, several other projects for the promotion of archives have received grants from organisations other than the European Commission, inter alia support for the St. Petersburg Phonogram Archive, and the Folklore Archive in Tirana, obviously as a result of a better understanding of the need for audiovisual preservation. When the TAPE project started its partners assumed that cooperative projects would fail because of the notorious distrust of researchers, specifically in the post-communist countries. One of the most encouraging surprises was to learn that, at least in the most recent survey, it became apparent that this social obstacle is fading out. TAPE may have contributed to this important development

Long-Term Preservation of Digital Records, Part I: A Theoretical Basis

The Information Revolution is making preservation of digital records an urgent issue. Archivists have grappled with the question of how to achieve this for about 15 years. We focus on limitations to preservation, identifying precisely what can be preserved and what cannot. Our answer comes from the philosophical theory of knowledge, especially its discussion about the limits of what can be communicated. Philosophers have taught that answers to critical questions have been obscured by "failure to understand the logic of our language". We can clarify difficulties by paying extremely close attention to the meaning of words such as 'knowledge', 'information', 'the original', and 'dynamic'. What is valuable in transmitted and stored messages, and what should be preserved, is an abstraction, the pattern inherent in each transmitted and stored digital record. This answer has, in fact, been lurking just below the surface of archival literature. To make progress, archivists must collaborate with software engineers. Understanding perspectives across disciplinary boundaries will be needed.

JISC Preservation of Web Resources (PoWR) Handbook

Handbook of Web Preservation produced by the JISC-PoWR project which ran from April to November 2008. The handbook specifically addresses digital preservation issues that are relevant to the UK HE/FE web management community”. The project was undertaken jointly by UKOLN at the University of Bath and ULCC Digital Archives department

What's [Yet] to Be Seen? Re-Using Qualitative Data

This paper considers current debates about re-using qualitative research data by reflecting on its implications for the nature of social science knowledge created in this process and the ways in which the disclosure of researchers\' practices are linked with the making of professional academic careers. It examines a research project using two different approaches – a \'virtual\' and a \'classic\' ethnography – to argue that issues concerned with re-use of data depend on the methods employed and the overall processes of investigation. The paper argues for an appreciation of the contexts involved in the generation of research material which takes into account both the development of the study and related fieldwork processes as well as the academic context in which knowledge is produced, particularly those involved in the construction of academic selves and professional careers, which are part of a wider situation bearing upon scientific enquiry.Secondary Data Analysis, Ethnography, Visual Methodology, Academic Careers

THE ACCUSED IS ENTERING THE COURTROOM: THE LIVE-TWEETING OF A MURDER TRIAL.

© 2017 Informa UK Limited, trading as Taylor & Francis GroupThe use of social media is now widely accepted within journalism as an outlet for news information. Live tweeting of unfolding events is standard practice. In March 2014, Oscar Pistorius went on trial in the Gauteng High Court for murder. Hundreds of journalists present began live-tweeting coverage, an unprecedented combination of international interest, permission to use technology and access which resulted in massive streams of consciousness reports of events as they unfolded. Based on a corpus of Twitter feeds of twenty-four journalists covering the trial, this study analyses the content and strategies of these feeds in order to present an understanding of how microblogging is used as a live reporting tool. This study shows the development of standardised language and strategies in reporting on Twitter, concluding that journalists adopt a narrow range of approaches, with no significant variation in terms of gender, location, or medium. This is in contrast to earlier studies in the field (Awad, 2006, Hedman, 2015; Kothari, 2010; Lariscy, Avery, Sweetser, & Howes, 2009 Lasorsa, 2012; Lasorsa, Lewis, & Holton, 2011; Sigal, 1999, Vis, 2013).Peer reviewe

TV times: archive, mood, media

Today, television is spreading centrifugally: it no longer requires a broadcasting schedule nor the furniture traditionally associated with it (the ‘box’ in the corner of the front room). In this age of Television-after-TV one phenomenon that is particularly important is the increasing access and ease of access to the televisual past. This article investigates (sometimes in a speculative manner) how these changes are forming and transforming popular historical consciousness: the ordinary sense that we have of living at a particular moment that is connected with and disconnected from what came before