Redefining The Audiovisual Archives In The Digital Age
Bangkok, Thailand, 27-31 May 2013

CONFERENCE SPEAKERS

DR. DANIEL TERUGGI	Keynote Address: What Future For Our Archives?
Head of Research, Ina, Institut National de l’Audiovisuel	Born in Argentina in 1952, Daniel Teruggi has developed his professional career in France, where he lives since 1977. Composer and researcher, he works since 1981 at Ina (National Audiovisual Institute) in Paris. He has been the Director of Ina’s Musical Research Group, GRM, since 1997 and Director for the Research and Experimentation department of Ina since 2001.In the Research domain, he has been actively working on the preservation of audiovisual collections and particularly electroacoustic music. He has been the coordinator of the FP6 European project PrestoSpace, dedicated to the development of new technology for Digital preservation. He is actually coordinating the FP7 European project PrestoPRIME, dedicated to the long-term preservation of audiovisual digital contents. He is member of the Europeana project and Foundation and head of the Preservation and Migration commission at the International Federation of Audiovisual Archives (FIAT/IFTA). He has composed nearly 80 works, mainly for the concert and always using electroacoustic devices with or without acoustic instruments. He is the author of numerous research articles related to sound and musical perception as well as musical analysis. His music has been performed in more than 30 countries and published in different CD collections. He is founding member of the International Electroacoustic Musical Studies network. PhD in Art and Technology at the University of Paris VIII, Daniel Teruggi, has developed an important educational activity at the Sorbonne University or as visiting professor in Hertfordshire (GB), guest professor at the TU Berlin and Universidad 3 de Febrero (Arg).
DR. RAY EDMONDSON	Philosophy and Principles in the Digital Age
Archive Associates Pty Ltd	Ray Edmondson is Director of Archive Associates, a consultancy company (www.archival.com.au). He began his career in archiving in the Film Section of the National Library of Australia in 1968, ultimately becoming the Section’s Director. Described as the ‘moving spirit’ behind the creation of the National Film and Sound Archive (NFSA) in 1984, he served as its Deputy Director until early 2001, then becoming its first honorary Curator Emeritus.In 1987 he was awarded the Medal of the Order of Australia (OAM) for his professional work. In 2003 he received the Silver Light Award of the Association of Moving Image Archivists (AMIA) for career achievement. In 2010 he received the Life Achievement Award of the South East Asia Pacific AudioVisual Archive Association (SEAPAVAA) and the Distinguished Achievement Award of the Australian Society of Archivists. Ray writes, speaks and teaches internationally within the audiovisual archiving field. He is active in its federations and forums and writes for its professional journals. Since 1996 he has been involved in UNESCO’s Memory of the World Program, authoring its current General Guidelines and Companion, and serving on its committees, including as current chair of MOWCAP (Memory of the World Regional Committee for Asia Pacific). His monograph Audiovisual Archiving: Philosophy and Principles was published by UNESCO in 2004. His major writings have been translated into nine languages. In 2012 Ray was awarded a doctorate by the University of Canberra for his dissertationNational Film and Sound Archive: the Quest for Identity.
ELAINE GOH	Clear Skies or Cloudy Forecast? Challenges in the Acquisition and Preservation of Audiovisual Records in the Digital Environment
University of British Columbia	Elaine Goh is a doctoral candidate at the School of Library, Archival and Information Studies at the University of British Columbia in Vancouver, Canada. Her research interest is on archival legislation in Commonwealth countries and on organizational culture and behavior.Elaine was a graduate research assistant of the International Research on Permanent Authentic Records in Electronic Systems (InterPARES) Project from 2009-2011. She is currently involved in the research on Records in the Cloud, supported by the Social Sciences and Humanities Research Council of Canada. Prior to starting her doctoral program, Elaine worked at the National Archives of Singapore for about 10 years and last held the position of Assistant Director of Records Management. She was also the Chair of the Asian Research Team in the InterPARES Project from 2003-2006.
BENEDICT S. OLGADO	Shifting Paradigms: Sustainability over Rhetoric: A Socioeconomic Management Framework
National Film Archives of the Philippines	Benedict Salazar Olgado is the inaugural and current Director of the National Film Archives of the Philippines. He has worked on cultural projects for various international organizations including UNESCO and ASEAN and for a number of cultural organizations including the Museum of Modern Art, Anthology Film Archives, Columbia University’s C.V. Starr East Asian Library, and Applashop among others. He started his career in the heritage field as the Senior Administrator for the Southeast Asia Pacific Audiovisual Archive Association.In 2012, he received his Master’s degree in Moving Image Archiving and Preservation from New York University. He has been awarded several grants and scholarships from institutions such as the Academy of Motion Picture Arts and Sciences, the Institute of Museum and Library Services, and the Tisch School of the Arts. In 2011, as one of the leading young audiovisual archivists in the field, he has been named the KODAK Fellow in Film Preservation. Olgado is also currently an adjunct faculty at the College of Mass Communication in the University of the Philippines, Diliman. He is affiliated with a number of professional organizations including the Association of Moving Image Archivists where he chairs the International Outreach Committee. He is also a member of the Southeast Asia Pacific Audiovisual Archive Association and the Society of Filipino Archivists for Film.
ANDREW MARTIN	Refreshing the Archive: Experience in Archiving, Restoring and Content Exchange with LTFS
DAMsmart Media Migration	Andrew Martin is responsible for the technical operation of the DAMsmart Media Migration platform, which includes collection digitisation, digital storage and delivery, and customer systems integration.Andrew has over 15 years experience in the broadcast industry and within the Audiovisual archive community working with clients from National and State Institutions, non for profit organisations, production houses and sporting associations. He refined his technical expertise working as the Digital Media Specialist with the National Film and Sound Archive of Australia, where he researched and developed standards for encoding analogue material for preservation, the web, production and cinema. Andrew has formal qualifications in Audiovisual Archiving from Charles Sturt University and in 2007, he established DAMsmart’s media migration platform in Canberra. Andrew has interests in digital preservation, and integrating archiving projects into communication for development programs (C4D).
KOVEN LO	Use of RFID Technology in the Hong Kong Film Archive
Hong Kong Film Archive	Koven LO is the Assistant Curator (Conservation) responsible for the conservation of films and film-related materials of the Hong Kong Film Archive since 2008. He started his career as an assistant conservator in museums since 1996. He graduated from the Hong Kong University of Science and Technology with a Chemistry first degree and holds a Master degree in Conservation from the University College London.In 2009, he started his professional training in the area of film preservation and restoration by attending the Film Preservation Certificate Program of the George Eastman House in Rochester, USA. From 2009 to 2013 he took part in the restoration of Confucius (1940), Colourful Youth (1960), Wong Fei-hung’s Whip that Smacks the Candle (1949), The Story of Wong Fei-hung, Part Two (1949) and Nobody’s Child (1960).
PAUL JONES	Migration Strategies, File Formats and Storage Medium
Front Porch Digital	As International Sales Manager for Front Porch Digital, Paul Jones is responsible for Asia/Pacific sales of the DIVASolutions suite, which provides an integrated workflow for migrating, managing, and monetizing media content on-site or in the cloud.Jones has been with Front Porch Digital for more than four years and has been instrumental in helping to drive the company’s market share up by 80 percent. After completing his technical education in the U.K. he began working for broadcast equipment vendors and has extensive experience working with analog video workflows, facilities undergoing digital migration, and the complex file-based workflows of today. Jones is responsible for the operations of the Front Porch Digital office in Singapore, and has been working in the Asia/Pacific region for more than 20 years.
JAN MULLER	The Reinvention of the Audio Visual Archive
Netherlands Institute for Sound and Vision; FIAT/IFTA	Jan Müller (1967) studied commercial economics in Amsterdam and at INSEAD. He is the CEO at the Netherlands Institute for Sound and Vision (Nederlands Instituut voor Beeld en Geluid). He started there in april 2009, after 20 years of working in the advertising industry. He previously worked in senior positions at a number of network agencies and was a partner at JWT Amsterdam and member of the board at TBWA Amsterdam. The last 6 years before he moved to Sound and Vision, he was the CEO of Saatchi & Saatchi in the Netherlands and member of the board of Saatchi & Saatchi Europe.Currently, he is president of FIAT/IFTA (International Federation of Television Archives) and chairman of the Dutch Media Literacy programme. He is also president of the PrestoCentre Foundation (the international competence centre for digital preservation) and vice president of the Dutch National Coalition for Digital Preservation and Sustainability. The link with his previous field of work he retains in his role as chairman of the Dutch Advertising Archive and member of the board of the Dutch Press Musuem. He wrote a book about innovation in advertising and has published several articles in the trade press about advertising, creativity and media.
MICK NEWNHAM	Yin and Yang: AV Media Preservation Meets Social Media
National Film and Sound Archive, Australia and ROD BUTLER	Mick Newnham is currently the Manager of Conservation, Preparation and Research, at the National Film and Sound Archive (NFSA) based in Canberra, Australia. In his role as a researcher Mick engages in original research on issues surrounding the conservation and long-term preservation of audiovisual media such as film, magnetic tape and optical discs.From 2000-2005 Mick was the Chair of the of the South East Asia Pacific Audio Visual Archives Association (SEAPAVAA) Technical Committee and from 2005-2008 Mick was on SEAPAVAA’s Executive Council. Mick has contributed to the work of the International Federation of Film Archives (FIAF) Technical Commission, the Association of Moving Image Archivists (AMIA) Preservation Committee and the International Organization for Standardization’s TC 42 WG 5. TC-42 WG5 develops standards and recommended practices for the care of audio visual materials. Since 1995 Mick has been providing consultancies and training in audiovisual preservation and collection management on behalf of organisations such as UNESCO, SEAPAVAA and ASEAN. These consultancies have been conducted throughout Australia, SE Asia, USA, Europe, the Caribbean, Mexico, West Africa and India. Mick is a lecturer and tutor in audio visual preservation with the Charles Sturt University on-line course “Preservation of AV Materials”.
KAREN CHAN	A Redefined Archive: The Asian Film Archive from Concept to Reality
Asian Film Archive	Karen Chan started working in audiovisual archiving at the National Archives of Singapore 15 years ago. Her work experiences since then include curating exhibitions for the American Museum of Natural History in New York City, working in corporate communications at the Singapore National Arts Council, and teaching English and History at the secondary school level.In 2006, Karen joined the Asian Film Archive (AFA) as a pioneer staff, later becoming its Archivist, managing the acquisition and preservation of its collection. Since 2010, she has been the Acting Director of the AFA. Apart from overseeing its operations, Karen helms the AFA’s outreach department, developing and teaching film literacy and preservation courses to educators, students, and the general public. She is also currently a councillor on the Executive Council of the Southeast Asia Pacific Audiovisual Archive Association.
EROS ARBILON	On the Road and Online: Developing Avenues for Access and Advocacy
National Film Archives of the Philippines	Eros Arbilon is currently a senior archivist at the National Film Archives of the Philippines (NFAP) serving as its operations manager. He started his career in audiovisual preservation as a film archiving associate with the Alexis Tioseco Internship Program in 2010. After which he became an apprentice under Ricky Orellana, the archivist at the Mowelfund Film Institute.In 2011, when NFAP was established, Arbilon was one of its pioneer archivists. In the same year, he underwent training on digital preservation at the Institut national de l’audiovisuel (INA) in France. Arbilon handles film trafficking and technical support for the advocacy programs for the Film Development Council of the Philippines. He also currently serves as a board member of the Society of Filipino Archivists for Film (SOFIA).
LEO KATIGBAK	The Film Archive: Dealing with Digitization and Restoration
ABS-CBN Film Archives, Philippines	Former Studio 23 Managing Director Leo Katigbak was appointed Head of ABS-CBN’s Special Projects under the Office of the President in March 2008 reporting directly to President Charo Santos-Concio. He is tasked to oversee proper management implementation of assigned key projects and corporate strategies that have direct impact in advancing the company’s total business imperatives.In August 2012, he was appointed head of the newly-formed Content Management Group and formally initiated the film restoration project under the ABS-CBN Film Archives. In addition to this, he has oversight over the Licensing Group and TV Food Chefs. Leo has been with the company since 1987, starting out as writer/editor/director/producer before moving to the corporate side of the business in 1992. He started the ABS-CBN Archives and concurrently worked in ABS-CBN Acquisitions prior to his assignment in STUDIO 23 as Head of Programming / Acquisitions, and subsequently, Head of Studio 23.

Registration is now open for the 17th SEAPAVAA Conference (“Redefining The Audiovisual Archives In The Digital Age”) at Asia Hotel, Bangkok, Thailand, 27-31 May 2013.

Deadline for registration is extended up to May 10, 2013.

Forms are available here for download:

• Conference Registration Form:   [PDF]  |  [Word]
• Hotel Registration Form:   [PDF]  |  [Word]
• Conference Schedule
• Program Schedule

 Audiovisual and Multimedia Section

AV Collections for Non-Specialist Librarians
An IFLA Audiovisual and Multimedia Section workshop
One day training workshop, Singapore, 19th August 2013 at NYU Tisch School of Arts

Objective
This workshop will provide an introduction to audiovisual collections management and preservation. Participants will learn the basics of caring for audio and video collections, and where to find other resources for learning, such as on-line and print publications, discussion groups, and professional associations.

Audience
The workshop is for librarians in organizations that primarily have paper materials, but who also manage collections that include sound or moving images. In this workshop, they will learn the basic principles to apply to these collections, such as recognizing various formats, assessing collection risks, reformatting issues, metadata issues, providing access, and approaches to management and planning.

Speaker
Howard Besser (Director of New York University’s Moving Image Archiving & Preservation masters degree program, and long-time library science professor, author, and speaker)

Schedule

10:00 – 10:30	Welcome & introduction to the workshop objectives
10:30 – 11:30	Types of collections and their specific needs
11:30 – 12:15	Film: identification and risk assessment. How it works. Gauges and supports. Generations and elements. Deterioration.
12:15 – 12:45	Sound: identification and risk assessment. How it works. Format identification. Preservation.
12:45 – 14:00	Lunch (on your own)
14:00 – 14:30	Video: identification and risk assessment. How it works. Format identification. Preservation.
14:30 – 15:00	Storage conditions and life expectancy for Film, Video, Sound
15:00 – 15:15	Break
15:15 – 16:00	Transferring and reformatting film, video and sound. Complications of doing it in-house. Complications of dealing with outside vendors Quality Control.
16:00 – 16:45	Providing access: on site, on line. Metadata, access formats, rights. Conclusions.
16:45 – 17:00	Wrap up and discussion

Location
This all day session will be held offsite during the IFLA World Library and Information Congress and 79th IFLA General Conference and Assembly at the NYU Tisch School of the Arts, Kay Siang Road, Singapore 248923. Directions to the site by public transportation will be provided to registrants.

The Workshop is organised by the IFLA Audiovisual and Multimedia Section, in collaboration with New York University Tisch School of the Arts and New York University’s Moving Image Archiving & Preservation masters degree program.

Registration
Registration for IFLA delegates is limited to 35 participants. There is no registration fee but registration is required. Please register via email (including name, affiliation and email address) to glabbott@syr.edu no later than 1st August 2013.

The Association of Moving Image Archivists (AMIA), the International Association of Sound and Audiovisual Archives (IASA), and the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA) have jointly issued a call for nominees for the James A. Lindner Prize.

The Prize is awarded to an individual, group of individuals or an organization for research, which by its originality, breadth and scope, is having or may have a major impact on the technology of preservation of moving images and recorded sound. The Prize is intended to recognize and reward outstanding contributions to research in the field of the technology of preservation of moving images and recorded sound.

For details and application form, please download:

• Word format
• PDF format

“Redefining The Audiovisual Archives In The Digital Age”
Asia Hotel
Bangkok, Thailand
27 – 31 May 2013

CONFERENCE CALL

The focus on “redefining” the audiovisual archives for the 17th Conference of the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA) calls attention to the myriad of changes that archives around the world are facing and have to cope with. The impact of these changes range from the redefinition of the archiving profession, its philosophy, principles and legislations, to the strategies employed towards advocacy and the day-to-day operations of archives.

How are audiovisual archives and archivists evolving and rising to the challenges that this digital age has put forth? The 17th SEAPAVAA Conference will explore approaches and possible answers to this question in the two-day Symposium to be held on 27 – 28 May 2013 at the Asia Hotel located in central Bangkok, Thailand.

“Redefining the Audiovisual Archives in the Digital Age”: – topics of interest include, but are not limited to:

1. Advocacy and the Audiovisual Archivist.
2. Philosophy and Principles of Audiovisual Archiving in the Digital Age.
3. Convergence and Mergers of Archival Institutions.
4. Archival Legislations in the Digital World.
5. Appraisal and Selection.
6. Social Media and Audiovisual Archiving.
7. Home Movies/Amateur Films as part of a National Archival Collection?
8. Management of Legacy Collections, Migration Strategies, File Formats, Best Practices and Standards.
9. Description and Discovery of Audiovisual Resources, Best Practices and Standards.

SEAPAVAA invites contributions from our members on any of the topics mentioned above.

Please contact any of the following three persons and the SEAPAVAA Secretariat (seapavaasecretariat@gmail.com) with your submissions as per the schedule below.

1. Submit your proposal in English as a MS Word file via e-mail by 24 February 2013.
2. The proposal should include the Title of Paper, an Abstract of maximum of 250 words, Name and Institution (where applicable) of Author(s) / Presenter(s).
3. SEAPAVAA will review the proposals and will notify you by 8 March 2013 should your proposal be selected.
4. Full papers of 20 pages maximum / double spaced for the selected proposals and brief bio-data of the Author(s) / Presenter(s) are to be submitted by 15 May 2013.
5. Presenters are required to deliver the summary of the paper in English, during the Conference. The full written paper is not to be read.
6. The presentation duration will be allocated at the discretion of SEAPAVAA, depending on the complexity and contents of each presentation.
7. Please note that travel expenses, accommodation and subsistence of attending the 17th SEAPAVAA Conference are the full responsibility of the Presenter(s) of accepted papers. All attendees, including Presenter(s), are required to register and pay the conference registration fee.

Contact Persons:

Adrian Wood, email: adrianjwood@aol.com

Irene Lim, email: Irene_Lei_Lian_Lim@nlb.gov.sg

Karen Chan, email: karen@asianfilmarchive.org

17th SEAPAVAA CONFERENCE AND GENERAL ASSEMBLY

The 17th SEAPAVAA Conference and General Assembly is hosted by the Thai Film Archive and co-hosted by the Thai government’s Public Relations Department (PRD). The charming and hospitable Bangkok City will enchant you and promises to add to the definitive warmth that the annual conferences of SEAPAVAA are known for. Expand your networks, meet and bond with fellow professionals and institutions in the archiving field as we share concerns, experiences, challenges and solutions in redefining the audiovisual archives in the digital age.

The Conference will have a special inaugural Restoration Asia event on 31 May 2013, dedicated to introducing the film restoration work done by archives and companies in Asia. As part of Restoration Asia, participants can look forward to screenings of four restored Asian films on 1 – 2 June 2013.

The Conference has a host of other events including:

• Symposium on 27 – 28 May 2013.
• Workshops – two separate workshops will run concurrently on 29 May 2013. Workshop I will have the theme of“Managing Metadata In The Digital Realm”. Workshop II is on “Film Identification For Collection Assessment”.
• Archival Gems Screening on 29 May 2013.
• Institutional visits on 30 May 2013.
• Retreat-excursion on 31 May 2013.
• 17th SEAPAVAA General Assembly for members on 29 – 30 May 2013 in the Asia Hotel.

Look out for the conference registration form on the SEAPAVAA website (http://www.seapavaa.com).

Please contact the SEAPAVAA Secretariat (seapavaasecretariat@gmail.com) or any of the following three persons if you require more information or have queries:

Adrian Wood, email: adrianjwood@aol.com

Irene Lim, email: Irene_Lei_Lian_Lim@nlb.gov.sg

Karen Chan, email: karen@asianfilmarchive.org

Download this document: MS Word format or PDF format.

DATES: 23 September – 16 October 2013
Application deadline: 1 March 2013
PLACE: Nairobi (Kenya) with study visits to partner institutions

ORGANIZERS
ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property)

TARA – Trust for African Rock Art

In cooperation with:
National Museums of Kenya

THE COURSE
Today sound and image records account for a large portion of the world’s memory and are found in diverse cultural institutions. As documents of intangible heritage and contemporary culture they are of immense value; yet, archives, museums, libraries and other cultural institutions around the world are struggling to conserve their sound and image collections in both analogue and digital formats. Moreover, conservation of sound and image materials is complex and requires specialized guidance, skills and infrastructure. While digitization offers new possibilities for wider access and preservation, many institutions lack expertise to assess the technological implications and to make informed choices that do not strain institutional resources and at the same time respect the authenticity and inherent values of this heritage.

The course will provide an overview of issues related to the preservation and access of sound and image materials e.g., photographs, films, video and audiotapes, and digital materials. It will discuss the value, meaning, selection and use of sound and image collections in various institutional contexts, exploring the potential of sound and image media in transmitting knowledge and cultural traditions. Initial sessions will especially focus on identification of various formats including the playback equipment, life expectancy of media and ways of detecting deterioration. Additional course topics will include: current knowledge and practices for documenting and cataloguing, media handling and storage, risk assessment of collections, emergency preparedness and response, criteria and technologies for migration and reformatting, planning preservation projects, outsourcing options, digital preservation and management. Issues such as curating and access, copyright laws, legal deposit, and institutional and national preservation policies will be discussed in context with participants’ working realities. Adaptation to technological changes and related cost-effective preservation strategies will form a key component of the course.

OBJECTIVES
At the end of the course, participants will be able:

1. to recognize materials and media in their sound and image collections,
2. to identify the risks to such collections,
3. to make informed choices for preservation and access within given means;
4. They will have improved their skills to communicate effectively across disciplines and to work in teams.

COURSE METHODOLOGY
The course will comprise lectures, a variety of group activities, practical sessions, case studies and site visits. Significant time will be allocated for independent consultation with the course team. Case studies for the course will be based on participants’ inputs and will address issues and challenges identified by them. Thus, active involvement of participants will be sought during the course preparation phase. A follow-up programme, will involve working on self-defined initiatives in participants’ home institutions and communicating as well as networking through a platform supported by the organizers.

PARTICIPANTS
The course is aimed at professionals working with mixed collections that have sound and image records of national or regional significance. In particular, it will interest archivists, collection managers, conservators, curators and librarians in charge of preserving such collections in various cultural institutions around the world. It will also interest Information Technology professionals working on projects involving digitization of sound and image collections or allied professionals and managers working for broadcasting institutions. Preference will be given to people actively involved in teaching and advising.

A maximum of 22 participants will be selected.

TEACHING TEAM
International team of recognized experts identified through professional networks of the partners.

WORKING LANGUAGE: English

COURSE FEE: 900 euro

TRAVEL, ACCOMMODATION AND LIVING EXPENSES
Participants will be responsible for their round trip travel costs to and from Nairobi (Kenya). In order to cover living costs during the course, participants should plan for a minimum total allowance of approximately Euro 1200. This sum would include the costs of accommodation in moderately priced hotels identified by the organizers. Candidates are strongly encouraged to seek financial support from sources such as governmental institutions, employers and other relevant funding agencies. ICCROM may be able to offer a limited number of scholarships to selected candidates who have been unable to secure funding.

APPLICATION
Please use the course application form at http://www.iccrom.org/eng/01train_en/forms_en/2013_SOIMA_applfrm_en.doc and send it by e-mail to Soima2013@iccrom.org. Please note it is mandatory to include the statement stating your reasons for applying.

Applications without the statement of intent will not be considered. Should you be sending the application by mail, please send to the following contact address:

SOIMA 2013-Collections Unit
ICCROM
13, via di San Michele, 00153 ROME RM, ITALY
Tel +39 06 585531 Fax +39 06 58553349
E-mail: Soima2013@iccrom.org