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1 | No Time to Wait 8: Call for Proposals | |||||||||||||||||||||||||||
2 | Specify the names of the speakers associated with your proposal and provide a description. Also select if it is a "lightning talk" (short 10-15 minute specific presentation), "presentation" (25-40 minute), "panel" (a 45 minute mix of presentations and group discussion) or "roundtable" (a 25-35 minute group discussion amongst many panelists on a specific theme). If you'd prefer to propose or discuss an idea for the conference program without using this form, please feel welcome to contact us at info@mediaarea.net. The Call for Proposals is open until August 29th. Proposals may be for onsite (live at Národní filmový archiv) or online or a mix. For online presentations, we require a pre-recorded presentation. We will provide a live introduction and facilitate a live Q&A session between you and the audience after the presentation. Questions? Please, see and add to the FAQ section on the next tab or contact us at info@mediaarea.net. | |||||||||||||||||||||||||||
4 | Names of the Speakers (public) | Proposed Title (public) | Proposed Description | Proposal Type (public) | Anticipated Format (public) | |||||||||||||||||||||||
5 | Collence Takaingenhamo Chisita | Resource Sharing in Zimbabwe in the wake of the COVID-19 pandemic: Challenges and prospects | Resource Sharing in Zimbabwe in the wake of the COVID-19 pandemic: Challenges and prospects By Collence Chisita, Resource sharing amongst libraries in Africa has not been spared from the drastic effects of the COVID-19 pandemic. While the pandemic has affected all aspects of all socio-economic aspects of human lives, on the other end it has afforded academic libraries to rethink, reset and restragise on the effective and practical ways of ensuring that resource sharing remains as a robust pillar of library service provision. This article seeks to explore how academic libraries involved in resource sharing in Zimbabwe have responded and adapted to the demands of the COVID-19 era. The article seeks to explore how academic libraries in Zimbabwe have been able to meet local and global needs for information during this pandemic. It examines the challenges and prospects for resource sharing amongst academic libraries in Zimbabwe during the pandemic. It will examine how academic libraries have responded to the complex and dynamic needs of trusted information in an era of information disorder. The article will highlight strategies used by academic libraries in Zimbabwe to enhance resource sharing as a survival tactic in the wake of dwindling budget. The article will suggest recommendations to strengthen resource sharing in order to ensure that libraries remain the trusted providers of reliable sources of information. The study is anchored on an interpretivist paradigm with focus on comprehending and apprehending the resource sharing phenomenon vis -a viz the COVID -19 pandemic. It examines novel initiatives and solutions to enhance resource sharing amongst academic libraries in the era of information disorder. Keywords: resource sharing; academic libraries; interlending; academic libraries; COVID-19 pandemic and infodemic 1. Dr. Chisita A Senior Lecturer at Durban University of Technology, South Africa. He is a Research Fellow at the University of South Africa (UNISA). Chisita holds a PhD in Information Sciences, from the University of Pretoria. He is a renowned writer and speaker who has presented papers at various fora including Euro Africa Partnership for Research in ICT& Promoting African European Research Infrastructure Partnerships (PAERIP), IFLA, among others. He is secretary of the IFLA Indigenous Matters Section (IFLA-IMS) and AFLIA ‘s LIS Education Section. | Other | In-person | |||||||||||||||||||||||
6 | Nastasia Vanderperren; Lode Scheers | AIDA Capture Lab: Converting Legacy Media into Digital Archives | In this presentation we introduce AIDA capture lab and the challenges we faced. We also present how information from outdated carriers can be captured. Migrating data from outdated to modern storage media is complex, and not all organisations can set up a capture station for different digital media types on their own. They must first locate suitable legacy reading equipment and then connect it to modern workstations. Additionally, they need software to transfer the complete contents of the media to contemporary storage without alterations. The AIDA Capture-Lab is operated from the meemoo offices in Ghent, Belgium and provides an obsolete data carrier capture service available for cultural heritage organisations. The capture lab was founded by AIDA in 2019 as a result of the Digital Repair Cafe project. By bringing together and sharing resources and knowledge, data transfer is much more efficient and sustainable. All workflows and setups are documented on the AIDA Capture Lab website. | Presentation | In-person | |||||||||||||||||||||||
7 | sami meddeb or chedly ganouchi | Preserving the Authenticity of Radio Archives Amidst the Evolution of Artificial Intelligence and Synthetic Media | The rapid technological advancements in the field of artificial intelligence, epitomized by the emergence of deepfakes and synthetic media, pose a substantial threat to the authenticity and integrity of digital archives, particularly those of Tunisian broadcasters. These digital archives hold a pivotal role in understanding history, as well as in investigative journalism and inquiries. Consequently, preserving their long-term reliability and integrity becomes an inescapable priority. This issue raises the fundamental question of how we can effectively safeguard the reliability and integrity of digital media archives, with a particular focus on the archives of Tunisian radio stations. The present document aims to examine various strategies and measures that can be implemented to address this challenge, including robust authentication and verification mechanisms, strict access controls, decentralized storage solutions, as well as promoting awareness and training among industry stakeholders. Close collaboration among the relevant parties is imperative to develop comprehensive guidelines and standards aimed at preserving the reliability and integrity of these invaluable digital archives. | Presentation | In-person | |||||||||||||||||||||||
8 | Nastasia Vanderperren, Lode Scheers | Scraping and crawling: Lessons learned about archiving social media | In this presentation, we will present results and lessons learned from the project Best Practices for Social Media Archiving in Flanders and Brussels, which ran from 2021 until 2023. Meemoo was responsible for developing the workflows for archiving social media. The focus will be on what tools and methods we used to archive social media profiles and metadata. We will also talk about the challenges we faced during the project. The results are extensive and accessible guides on how to archive social media and what tools to use. The guides are published on our knowledge base. [LINKS] (still need to be translated). | Presentation | In-person | |||||||||||||||||||||||
9 | Vicente Matallana - NewArtFoundation | Presentation of the New Art Centre. | After 20 years of developing the .NewArt {collection;}, the .NewArt {foundation;} takes a step forward by creating a new art centre in Reus, Catalonia, Spain. A centre focused not only on the exhibition and production of technological art but also on its conservation and storage. A new challenge to develop a meeting place for artists, researchers, curators, and other agents, where they can work on the development of a technological artistic legacy for future generations. The center will be operational by late autumn of 2024. | Presentation | In-person | |||||||||||||||||||||||
10 | Crystal Sanchez | Testing OpenAI's Whisper to make Captions for Audio Recordings | The Smithsonian has spent the past year building an approach and testing out OpenAI's tool Whisper to make captions for AV files. Whisper is OpenAI's speech to text tool. Metrics were created to score the AI against, including style requirements built by the Smithsonian and the field. Variables in the recordings were identified, including noise, crosstalk, and musical performances, and test files were gathered. This presentation will outline the approach taken to build an intentional approach to testing and will overview some of the results. | Presentation | In-person | |||||||||||||||||||||||
11 | Barbara Filser (Art History, KIT), Felix Mittelberger (ZKM) | From Tape to Data. Exploring and indexing time-based media archives in a university classroom | “No time to wait” is an apt call not only for the preservation of audiovisual cultural heritage but also for the full archival and scholarly description of preserved artefacts. In fact, in our understanding, this is an integral part of preservation efforts and vital in rendering archived material accessible. Especially when faced with larger bodies of connected but disparate audiovisual material, researching the requisite information can become a daunting and time-consuming task. In a collaboration between the ZKM archive and Art History at the Karlsruhe Institute of Technology (KIT), which began in 2020, we tried to tackle this task for at least some of the archive’s extended audio-visual material in what evolved into a series of three seminars with the aim of completing the archival database entries for selected objects. Our object of research and description was the videotape archive of US-American video collective Raindance Foundation from the late 1960s and early 1970s, containing documentary recordings, formal experiments with the portable equipment they worked with, edited tapes, material used in art installations, news segments taped off the TV and the like. We are proposing to present how we worked together with the students on the Raindance Foundation video archive and what the outcomes were. Since teaching this media archive was also intended as an effort to further knowledge about the ZKM’s archival holdings as well as preservation and archival work among future researchers and, perspectively, the wider public, we hope to enter into a discussion about the possible routes to open these areas to participation from outside the institution holding the material. | Presentation | In-person | |||||||||||||||||||||||
12 | Deep machine learning applied to moving image restoration | Lightning Talk | In-person | |||||||||||||||||||||||||
13 | TBD | Introduction to Digital Preservation is People | Digital Preservation is People is a new association for those involved, adjacent, or curious about digital preservation to become involved and broaden the church that is the discipline: : https://write.as/dpip/hello-world | Presentation | Mixed | |||||||||||||||||||||||
14 | Ross Spencer | Declarative programming for digital preservationists | A talk about the declarative programming paradigm and the importance of good design, good interfaces and well understood requirements in the delivery of software with a focus on the GLAM community. | Presentation | In-person | |||||||||||||||||||||||
15 | Arnaud Obermann | Analogue Analogies - artworks and the struggle for authenticity | (Topic: Analog Advocacy) In the course of the presentation, the necessity of preserving and maintaining analog technologies will be discussed on the basis of several works of art (which mainly belong to the category of sound art) - including works by John Cage, Wolf Vostell and Dieter Roth. Different approaches and alternative forms of presentation are shown in detail and examined with regard to the most authentic form possible. Due to the heterogeneity of the examples, the difficulties regarding a standardized procedure for the preservation of these artworks become apparent - the necessity of a case-by-case decision is underpinned. | Presentation | In-person | |||||||||||||||||||||||
16 | Marion Jaks , Jérôme Martinez | Beyond Checksums: MediaInfo’s conformance checker at the Austrian Mediathek | The Austrian Mediathek holds a collection of approximately 300,000 digital audio and video files. With the continuous influx of born-digital media, this collection is rapidly expanding. Although content providers are expected to deliver their files accompanied by a checksum, this is often not feasible. Even when a checksum is provided, archivists cannot determine what transpired prior to its calculation. Faulty and broken files might still enter the digital archive despite the presence of a checksum, because a checksum only validates from the point of its creation onwards. This presentation addresses the Austrian Mediathek’s quest to identify and document faulty files within the digital collection, regardless of the checksum. To tackle this challenge effectively, the Austrian Mediathek collaborates with Jérôme Martinez from MediaInfo to upgrade its conformance checker capabilities, catering to the primary formats within the OEM’s extensive collection. | Presentation | In-person | |||||||||||||||||||||||
17 | Johannes Goebel | A Digital Time Capsule – Specification, Design and Implementation // Institutional Power and Personal Legacy in Contemporary Time-based and Performing Arts: Video Documentation vs. Preservation (with two examples) | The proposed presentation consists of two sections which are interrelated: one technical and one on documentation vs. preservation of time-based art. >> A Digital Time Capsule – Specification, Design and Implementation << Is it possible to create a Digital Time Capsule that allows to safely keep the bits for say three human generations; readily access, view and listen to the stored material; without temperature and humidity control beyond what we as biological humans need and the continuous financial support needed for electricity and people; without copying or porting data; without bit-rot, evaporated hardware or proprietary or dead file formats; only using hardware abundantly spread over the globe, public domain operating systems and ISO sanctified and documented file formats. And costing not more than a 10-15 year old car. What are the limits of such holy grail. At EMPAC (Curtis R. Priem Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute) we researched, developed and implemented over the past 10 years a prototype of such Digital Time Capsule. Over one thousand video and audio documentations and productions of new works from the first two decades of EMPAC have been incorporated in a repository that can sit on a shelf in one’s living room, office, library or bunker. Always under personal or institutional control, outside any commercial platforms like “the cloud”. The archive is stored in ISO format on the only optical discs that do not contain any material than can deteriorate, oxidize or is affected by UV light or fluctuating humidity or temperature. All other discs incorporate reflective surfaces and/or organic dyes that do break down at some point in time. In our research we conducted spectral material analysis of the discs with a field emission scanning electron microscope and a focused ion beam microscope, verifying claims of the manufacturer and debunking others. For the computer hardware side, we went down the rabbit hole of quality and data retention of firmware/flash memory chips and their re-flashing to the question of capacitors in power supplies. A very important step was how to automatically split long video files to be written across several optical discs and still being able to play each disc independent of the others. The EMPAC archive has currently three copies of the Time Capsule with each around 3000 optical discs and a set of self-contained hardware, that should never be connected to the internet and never be updated. This presentation will describe concept and implementation on a more conceptual level, without getting into technical details and thus leaving it open for many questions. >> Institutional Power and Personal Legacy in Contemporary Time-based and Performing Arts: Video Documentation vs. Preservation (with two examples) << As everyone knows too well: Very few art works incorporating (digital) technology will be preserved and most will go under. Preservation depends on selection and usually institutional interest and staffing and financial support. The majority of good-better-best works will and cannot be included in the circle of preservation. And an artist may decide to preserve some of their works by porting them to technologically updated versions throughout their own life-time, which - as we equally well know - may end unexpectedly. A slashing hole in all time-based (visual/auditory/performing/…) arts has been opening over the past 70 years when works rooted fully or partially in technology cannot be shown or performed any longer. And we are left with reviews and blogs, descriptions and documentation, in case these have not also disappeared in the digital abyss. In parallel to the ongoing discussions and activities in the realm of preservation, video documentation of also complex works will allow to “get an idea” of what a work was that is not preserved and cannot be reconstructed. In Western music, we have a long tradition of notating music and reperforming it even though we have no recordings to inform us how it sounded when it was created. To some extend this also exists in dance and theater. With audio and moving image recordings we are used to understand that what we see and hear is not identical with the documented event but we “get an idea”. As experts we are used to apply our knowledge to what we see and hear and interpolate to what it might have been. Many performing art works have no life after their premiere, and this is not an indication of their “value”. The same is true for installations and interactive environments. And works to be interacted with on computer screens will at the latest disappear with the obsolescence of the used technology. By creating a video documentation of performances, installations and interactive works, they may still give an impression of what the now inaccessible work. The video should be done in an ISO documented standard (e.g. mp4). The follow-up question how such video can be passed on through time, the first section the time capsule may indicate a direction. Two quite different examples will demonstrate this approach. The first is the interactive CD-ROM “Improvisation Technologies” by William Forsythe and produced by ZKM in 1999. The choreographer demonstrates and discusses the foundations of his dance improvisation. The CD-ROM is a classic in the dance world and referenced in teaching. It runs under Mac OS9, an obsolete operating system. As such it is only available on old computers or under an emulation of the operating system. All of the interactive content was captured on a linear video. Posted on YouTube (with permission), it allows the content to be generally available again. The second example is an interactive 360-degree film utilizing Jeffrey Shaw’s panoramic projection and interaction environment, commissioned and produced by EMPAC in collaboration with ZKM and the iCinema Research Centre. The Wooster Group of New York City authored and performed “There is still time…Brother” specifically for the interactive experience. It requires a complex integrated computer, video and audio system with a large and heavy panoramic screen. After a few performances in the USA, Hong Kong, Shanghai and São Paulo is has not been set-up again and the infrastructure does not exist anymore. Three different documentations of viewing and navigating the interactive film allow a close reading of the work and to imagine “how it must have been”. | Presentation | In-person | |||||||||||||||||||||||
18 | Alina Saenko, Lode Scheers | Let's cultURIze! PIDs and persistent URI's in the heritage sector in Flanders | Meemoo vzw (flemish institute for the archive) is a non-profit organisation that supports the digital archive operations of cultural, media and government organisations. Since 2013 we have been researching practical implementation of PID-theories in the cultural heritage landscape in Flanders. During our research we have gathered experience and knowledge on strategic and operational levels. We have dealt with conceptual and practical questions like identification of real-life artworks and digital data about them, centralised or decentralised PID-services, management-tools or PIDs for heritage institutions, disseminating the PIDs or objects through Wikidata etc. On the strategic level we have learned that a sustainable management of persistent URI’s is one of the most important factors to ensure the persistence of implemented URI’s. We worked together with our partners on a template for a PID strategy created for use in heritage institutions. On an operational level we have sought to offer solutions for smaller heritage organisations to deal with the persistence of their URI’s. The development of what is now cultURIze has been a lesson in dynamic development matching requirements of our colleagues in cultural heritage institutions over the years: The original 2018 cultURIze version provides a trusted environment for collection managers, to take control over the resolving of their persistent URI’s. The offline application is made up of standard components with as little as custom code as possible. https://github.com/PACKED-vzw/CultURIze The latest iteration is cultURIze-web it works as an API service to ensure a semi-automatic process of creating and managing persistent URI’s from within collection management systems. https://github.com/viaacode/culturize-web With this session we would like to share our lessons learned (both successes and epic failures) from previous years, showcase the cultURIze tool and the PID strategy template and get feedback from the community. | Presentation | Mixed | |||||||||||||||||||||||
19 | Multiple (could suggest one or two members of Tate TiBM conservation and conservators from other institutions) | DMX Lighting Control Open Storage Standard Workshop (could also be a Talk or Panel) | I think it would be great to have a discussion between different institutions around developing a standard for storing show files for artworks that use DMX lighting control protocol, because DMX evolved in a primarily live performance context currently there is no open standard for file based storage, however there is a USITT ASCII file format spec/standard intended as an interchange standard between proprietary desks which I think could serve as the basis for a platform agnostic format for preserving files. At Tate multiple conservators have now worked on artworks that incorporate DMX taking different approaches depending on the structure of the work and DMX hardware/software/authoring environment used. I am sure the same is true of other large institutions dealing with contemporary multimedia/interactive works etc. It seems a timely moment to discuss the need to develop consistent documentation and analysis workflows and the limitations of the show control files them selves which do not document address mapping, information about hardware used or any other information needed to insure consistent playback/materialisation of works. | Workshop (for September 11th) | Mixed | |||||||||||||||||||||||
20 | Dave Rice | New Techniques and DAT Tapes | This presentation provides a look into the DATs True project funded by the National Endowment for the Humanties and managed by the Northeast Document Conservation Center. The project has taken on research and development into two directions for DAT audio tape preservation: using DAT players faciliated with deck control and using DDS drives to manage the data migration. The project has found success in building off the open hardware work in adjacent fields, such as vintage computer. | Presentation | In-person | |||||||||||||||||||||||
21 | Anna Mladentseva (UCL/V&A) and Natalie Kane (V&A) | Conserving a mobile app using emulation: Considerations on the method and its institutional challenges | Abstract: Last year, the Victoria & Albert museum (V&A) in London acquired the privacy-first sexual health and reproductive mobile app Euki to its growing collection of born-digital art and design objects. This is not the first mobile app that the museum has acquired, having already collected the Flappy Bird mobile game back in 2014 and two demos of the social media and messaging platform WeChat in 2017. In response to the growing need to access and preserve mobile apps in the collection, this presentation looks into the emulation of mobile hardware for the access, preservation and conservation of the specific case study of Euki; and questions the viability of the technique of emulation given the challenges that obsolescence presents not only in terms of technology, but also knowledge. The method for emulating mobile hardware presented in this talk is backed by tools created in non-institutional spaces by those who perhaps identify more as developers or even gaming enthusiasts. The Android-x86 project, an open-source initiative that ports the Android Open Source Project to Intel x86 processor architectures, forms the core part of the synthetic disk image prepared for the access of Euki through a virtual machine. Even the process of synthesising the optimal environment for Euki is enabled by various open-source tools created for the Android developer community. What challenges do these relationships present to museums like the V&A and their policies? How reproducible is the method presented in this talk, given that computing architecture and emulation technology is likely to develop and change in the future? The presentation, in addition to shedding light on how we can conserve this emergent medium, seeks to reflect on the precarity and immense distribution of the knowledge underpinning this type of work and what institutions can potentially do about it. Topics: (1) overcoming obsolescence; (2) crafting standards, workflows and practices Notes on Format: The preferred format for this talk is “presentation” (25 minutes) however depending on the program it can be condensed into a “lighting talk” (15 minutes) | Presentation | In-person | |||||||||||||||||||||||
22 | Paul Duchesne | Matching identifiers (Wikidata via OpenRefine) and federated queries (using Google Colab) (working title) | A pragmatic workshop. | Workshop (for September 11th) | In-person | |||||||||||||||||||||||
23 | Christian Sievers | Data modelling an archive for art genres | Digi-Kunst.nrw is building a platform for the digital archives of art and music academies. The talk introduces the project and its aims: To open up, standardise, make accessible and long-term-archive the multimedia collections of currently 5 art and music academies of the state of Nordrhein-Westfalen, Germany. It'll show how the project solved the question of integrating works of art from all genres (fine art, music, theatre, design, dance, etc) into one data model. The talk will also give an overview of the infrastructure, and how the project valiantly meets the challenges of connecting 5 art and music academies. | Lightning Talk | In-person | |||||||||||||||||||||||
24 | Sarah Gentile | Sharing the wealth: Training vendors to adopt RAWcooked | While cultural heritage institutions have come to rely upon open source software tools like RAWcooked to save on storage space and to safely move files, not many traditional film scanning vendors are using this tool in their own practice. This short talk will recount the development of the plan to train various MoMA film scanning vendors to use RAWcooked and Bagit when delivering their scans to the museum. This new practice saves significant compute time and staff time for MoMA, and although it comes at a billed cost, it speeds throughput of preservation materials. This short talk is meant to be a community discussion session with a list of questions to engage other RAWcooked and Bagit users in the audience. | Lightning Talk | In-person | |||||||||||||||||||||||
25 | Peter B. | Time to say farewell to "files-in-folders" as main data handling paradigm? | If you ever used a spreadsheet or filemaker/access/database to "handle your stuff", this is for you. Oh! And if you use "embedded" metadata, of course. :D After 20+ years of professional meta-and-data wrangling, I keep feeling I'm hitting a glass ceiling. I'm talking about: day-to-day challenges with using "data" on computing devices to satisfy personal-to-professional usage. Do you question if: * "*It's okay to use more than 8.3 UPPERCASE ASCII-only letters to describe our files-in-folders?*" * "*Having common standard plaintext-based data-exchange formats/libs/tools was an improvement?*" * "*Getting metadata access on any data in any format using the same tools/libs/ways is possible? I believe most digital "solutions" currently in existence implement ways to brilliantly juggle a stack of "unquestioned workarounds" to the fact that our usage of computers has for very long time already outgrown the "International *paper-office* Business Machines" designs. It's about time we stepped up to simply "wanting" tech-stacks to provide means to: * simply "save" your data? * simply "tag/annotate" your data sufficiently to find/use it later? * right-click-edit-metadata on any data-object in any format, at any time? * keep meta+data reliably together. Sufficiently. * have versioning, multi-tiering, geo-distribution, network-scaling, failover handling, etc. all included by default. As option. With sane defaults. Actually what everyone is doing "in the cloud" already - yet taking one step further, and having the choice from local self-hosted, over externally supported to "as a service": The choice is yours. What if you found out that the basic features already exist on existing Linux/MacOS systems, and were simply "overlooked"? And work quasi out-of-the-box? Here you'll get some great insights in how letting go of "files-in-folders" (FinF) as only "common" basic paradigm/idea will actually resolve many of our "*sighs* with IT" - 🌈️🌟️🤔️ Towards unicode- and binary-safe key/value blob stores. Enjoy! | Presentation | In-person | |||||||||||||||||||||||
26 | Esther Neumann | Archive for Media Arts - practices, new opportunities | This lecture will introduce the Archive for Media Arts at the Academy of Media Arts Cologne, the scope of the collection and the workflows. We have moved this march and have been given new opportunities to become more visible in the new building of the Academy. One opportunity will be to set up a collection of technical equipment dating back to the 1990s, when the KHM was founded. | Lightning Talk | In-person | |||||||||||||||||||||||
27 | Caylin Smith | Here Today, Gone Tomorrow: Capturing Online Content With Browsertrix | Between March and June 2024, the CUL Digital Preservation team undertook a web archiving pilot to assess the need for such a service at Cambridge University Libraries. Developed by Webrecorder, Browsertrix is an online platform for capturing and curating online content that can then be ingested into a preservation system or repository. This workshop will provide a hands-on experience with using Browsertrix from capture to access. | Workshop (for September 11th) | Mixed | |||||||||||||||||||||||
28 | Jimi Jones; Marek Jancovic; Marion Jaks; Ashley Blewer; Steve Lhomme | The Future Of Memory | After a decade, MKV and FFV1 have been adopted widely in the AV preservation community. Furthermore, in 2023, the Library of Congress embraced FFV1 as one of their “recommended formats” for the long-term preservation of video. This roundtable discussion engages several AV preservation professionals and scholars to talk about the evolution of FFV1 and its growth from an outsider encoding to being standardized by the CELLAR working group to acceptance as a “Preferred Format” by the world’s largest library. Some of the issues this roundtable will address will include: What is the future for lossless time-based encodings in small and large archives? Since the American film and broadcast production domains still invest heavily in JPEG2000 and MXF, how will those standards coexist with FFV1 and Matroska? What factors led to the inclusion of FFV1 and Matroska in the Library of Congress’ Preferred Formats? Can the CELLAR standardization work be a model for other formats or encodings needed by archivists and preservation professionals? | Roundtable | Mixed | |||||||||||||||||||||||
29 | Simon Repp | Independent, accessible and sustainable audiovisual publishing on the web | Online AV publishing is mired in a notable dilemma: Commercial platforms like YouTube are easily accessible to everyone, but make us lose control to corporations in terms of data ownership, privacy, cost, future availability, etc. On the other side, institutional, cooperative, free software and community projects offer independence, but usually require considerable continuous hosting effort, in reality often making them hard to access or sustain, as funding, motivation, time and energy wane. As an answer to this dilemma, I want to present two projects that harness static site generation to provide an audiovisual publishing approach that is independent (free and open source software), accessible (works with any cheap hosting plan) and sustainable (maintenance-free and long-term archivable both online and offline) for individuals and organizations alike. Faircamp (https://simonrepp.com/faircamp/) was started in 2021 and is currently used by 100+ artists and labels to publish audio online. The project's 1.0 release is slated for fall/winter 2024, with development supported by the European Commission's Next Generation Internet initiative (NGI0). The Hyper 8 Video System (https://simonrepp.com/hyper8/) was freshly released as a Beta in May 2024. It was started as a collaboration with Vienna's dérive society for urban research - who will publish their new video archive as the offical inaugural Hyper 8 publication at the end of summer 2024 - with development supported by Austria's federal ministry for arts and culture. I would be delighted to be able to share this approach and also to gather some input from the audience that could possibly inform further developments for the Faircamp and Hyper 8 projects! | Lightning Talk | Remote | |||||||||||||||||||||||
30 | Annet Dekker; Lozana Rossenova; Karin de Wild; Inge Hinterwaldner; Dragan Espenschied (STC) | “If there were no regeneration there could be no life. If everything regenerated there would be no death.” Richard J. Goss,, Principles of Regeneration (1969) This roundtable aims to engage both panelists and the audience in a discussion about strategies for regenerative curation. What are its potentials and risks for sustaining Internet art? Throughout its history, Internet art has fostered new forms of knowledge exchange, solidarity, and collective activity within distributed networks. These artworks bring people together, serve as platforms for co-creation, and instigate change. How to preserve their agency and dynamic nature? Regenerative curation is based on the premise that artworks continuously regenerate and evolve within social and ecological systems. Keeping them 'alive' involves renewal and transformation, as well as forms of decay. This approach raises questions for curators, archivists, and conservators: - How can gallery spaces be approached as sites for regeneration? - What are best practices for effectively capturing the various iterations or web of happenings? - How to document the lifespan of evolving artworks and build sustainable (data) infrastructures? - How can we foster collaboration across different institutions and communities? | Roundtable | Mixed | ||||||||||||||||||||||||
31 | A LITTLE KNOWLEDGE CAN GO A LONG WAY | A 'work in progress' style lightning talk (15-20 minutes) focusing on the theme of overcoming obsolescence pertaining to 2 time-based media artworks at the MFAH's collection. This talk will tackle digital obsolescence through closely analyzing- or rather attempting to study- the machine code that runs Jenny Holzer's 'isms Text: Selections from Truisms, 1977-79', a LED sign with scrolling, moving text featuring her aphorisms and slogans. The second part of the talk will focus on Elias Crespin's 'Equilateros', a kinetic sculpture running on a a piece that might be thought of as a work in progress by the artist, subject to ongoing modifications, upgrades. | Lightning Talk | In-person | ||||||||||||||||||||||||
32 | Jacobo Castellanos, Yvonne Ng | Protecting the Real and Identifying the Fake: A Human Rights Centered Approach to Generative AI | Generative AI blurs the line separating what is real from what is synthetic. Its rapid evolution and improvement has eroded trust at a time where mis- and disinformation is already rampant, complicating human rights investigations and potentially poisoning the well for all audiovisual evidence. WITNESS takes a two-pronged approach to help mitigate these threats and influence the development of technologies and policies -- on one hand, protecting what is real by 'fortifying’ the authenticity and provenance of truthful audiovisual materials, and on the other, identifying what is fake by promoting transparency and equitable access to detection tools. Disclosure mechanisms, such as watermarking and verifiable metadata, and investments in media literacy and computational detection may be leveraged. Through a conversational presentation format between WITNESS’s Technology Threats and Opportunities Coordinator, Jacobo Castellanos, and Senior Program Manager of Archives, Yvonne Ng, we will explore, in dialogue with participants, the intersection between generative AI, disclosure and detection mechanisms, and digital audiovisual preservation. In the process, we will share WITNESS’s research on synthetic media and how it is being used in our information ecosystem to amplify risks to democracy, as well as the range of mechanisms of disclosure and detection and their uses and limitations for human rights and journalism. | Presentation | Mixed | |||||||||||||||||||||||
33 | Peter Wobser | A case for a non-contact, format agnostic process of audio restoration from magnetic tape. | A general case for a system or process towards a solution to the magnetic tape alert project run by IASA. | Presentation | Remote | |||||||||||||||||||||||
34 | Nadja Wallaszkovits | (Topic: Analog Advocacy): From tape to data (continued): More physics than chemistry: the underrated factor in times of climate change | Many important holdings can still be found on analogue audio and video media, and digitisation continues to play a major role in the struggle between format obsolescence and media decay. The presentation discusses latest experiences concerning material ageing, such as loss of plasticiser and the well-known sticky tape/ sticky shed/ soft binder syndrome with analogue audio and video materials in subtropical regions, where “accelerated ageing” conditions are daily reality. A comparison of current research shows that physical factors in particular during the manufacturing process and long-term storage could have a greater influence on polymer degradation and binder breakdown than previously thought, and that the chemical composition of the media itself might play a less important role. If we look at examples from subtropical regions, we can anticipate what we can expect in the future as a result of climate change also in our regions. The Media Conservation degree programme at the ABK Stuttgart addresses this phenomenon in both teaching and research. It turns out that there is definitely no time to wait! | Presentation | In-person | |||||||||||||||||||||||
35 | Joey Heinen | Video archives for Media Archaelogy: Steina Vasulka and experiments in live A/V processing in the 90s | As we consider new tools and technologies for working with the video signal, it can be interesting to look back at key periods of innovation for digital video editing and manipulation. Steina and Woody Vasulka are "pioneers" of video and new media art and technology who spent their careers exploring the innate potential of the signal and pushed for new tools to facilitate this exploration. Steina, in particular, was fascinated with advancements in real-time A/V processing for purposes of performances, interactivity, and immersive environments and worked with many engineers and software developers throughout the 90s to create and modify software for these purposes. In anticipation of an upcoming exhibit being organized by the MIT List Center, I have been going back into my days assisting the Vasulkas with their archive and exhuming rare videos documenting the development process for these tools which has led to further inquiry around what was not-yet possible to do with consumer-based open-source video tools from this time. This begs the question of what past efforts have been made to create artist-driven tools with an open-source ethos, the successes and failures of these efforts, and what archives of this content can do to better ensure these obscure and abstracted histories can be interwoven to form a more complete narrative around media histories. If selected (and if there is still space in the program) I plan to share a few video clips with perhaps a couple ZKM morsels sprinkled in (the Vasulkas have a long history with the ZKM). | Lightning Talk | In-person | |||||||||||||||||||||||
36 | Radoslav Markov | Open source ffmpeg ecosystem and devices -friends or enemmies? | In this lightning talk will be discussed using of device (mostly capture,but not only) for purpose of capture video for archival needs. This review includes supported, as well usage of UNsupported directly by ffmpeg ecosystem devices. It can give some insides for more effective using of devices in ffmpeg ecosystem, as well give ideas for further development. | Lightning Talk | In-person | |||||||||||||||||||||||
37 | Jakub Stadnik | Film Sound Preservation – Review of Issues and Development Proposals | In a few years we will celebrate the centenary of the introduction of sound to film, and there is still too little discussion about the methods of digitizing and restoring film sound. The problem of ageing films does not only concern the image, but also the optical sound on film. This technology was used in film production from the early 1930s until the introduction of DCP digital cinema in the 2000s. The presentation will briefly discuss the problem of digitizing analog soundtracks from the oldest film materials (nitrate based), often in very poor physical condition, as well as proposals for improving sound archiving standards, including modification of the existing file format for joint image and sound archiving. | Presentation | Remote | |||||||||||||||||||||||
38 | Nicolas Pinçon | Developing a shared authority file for Luxembourg's cultural institutions | Presentation pending approval of the project's Governance board. Presentation of a collaborative, national project aiming to provide Luxembourg's cultural institutions with a reliable source of information for authorities and increase collections visibility. | Presentation | In-person | |||||||||||||||||||||||
39 | Markus Stauffiger | No Need to Wait? Applying AI to Make Collections Quickly Accessible | In today's digital age of rapidly expanding multimedia content, traditional methods of cataloging and archiving are often too slow to keep up. This presentation will explore how artificial intelligence (AI) can be applied to make vast archival collections quickly accessible before, or in some cases without, time-consuming manual processes. Drawing on our experience with institutions such as the PTT Archive and the Swiss Federal Archives, we will demonstrate how machine learning (ML) technologies can streamline access to archival materials, making them more intuitive and immediately usable. Key topics include - Introduction to Machine Learning: A simple introduction to how machine learning, specifically Visual Text Co-Embedding, is used in our Archipanion tool to enhance search capabilities. - Case Studies: Practical examples from projects with the Swiss Federal Archives and the PTT Archive that show how AI-driven solutions can open up new ways of exploring and using archival collections. - Improving Archival Efficiency: A discussion on how AI and ML tools can reveal hidden gems in archives, providing faster and more efficient access to valuable content. - Looking to the Future: Exploring the potential for AI to further revolutionize archives by improving information discovery, connectivity, and accessibility. - User-Focused Design: Highlighting the importance of creating easy-to-use, intuitive interfaces that improve the accessibility and understanding of archival content. | Presentation | In-person | |||||||||||||||||||||||
40 | Walter Ebert | Sharing your event with the world | A workshop on live streaming and video recording | Workshop (for September 11th) | In-person | |||||||||||||||||||||||
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