<div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><div id=":58h" class=""><div id=":5a4" class="" style="overflow:hidden">Audiovisual Archives in Universities and Research Institutions<br>
<br>
Call for papers<br>
<br>
The International Council on Archives Section on University and Research
Institution Archives (ICA-SUV) will hold its annual conference 13-15
July 2015 at the University of North Carolina’s Louis Round Wilson
Special Collections Library in Chapel Hill, N.C., USA. The program will
address the increasing role that audiovisual archives play in
documenting our institutions, societies, and cultures and explore the
challenges posed by these archives in universities and research
institutions. Despite growing recognition of the complexities of
managing audiovisual archives and the urgency of tackling the
challenges, few universities and research institutions have adequate
resources to address the myriad difficulties faced by archivists
grappling to preserve and facilitate the use of this valuable
documentation. The conference will provide opportunities to discuss
long-standing concerns about the preservation of and access to original
media and to explore the opportunities and challenges that digital
technologies present.<br>
<br>
The Scientific Committee for the 2015 ICA-SUV Conference invites
proposals for papers addressing any of the following themes and
questions:<br>
<br>
• The Preservation Challenge<br>
<br>
Many institutions have focused on the preservation of paper and
photographic-based archives and have built robust programs for these
materials. Preservation of audio and moving image archives has not
received the same level of attention and resources as these other
archival materials; yet they are especially vulnerable to the fragility
and rapid obsolescence of media, vulnerabilities which constrict the
time frame for preservation. Digital technologies provide opportunities
for preserving content, but quantities of material often outstrip
technical capacity and costs frequently exceed available resources.<br>
<br>
How can the profession persuade institutions to invest the resources
needed for audiovisual preservation? What scientific work is needed on
the composition and degradation of physical formats, conservation
treatments, and playback technologies? Can science and technology—such
as parallel transfer configurations for audio and robotic digitization
workstations for video—increase production in digital preservation
facilities? Which materials are most at risk and what criteria should be
used to prioritize materials for reformatting? What facilities and
environmental controls are needed to slow media degradation? How can
in-house programs, outside services, and consortial arrangements support
large-scale preservation digitization? How can the profession address
the low availability of obsolescent playback equipment?<br>
<br>
* • The Discovery Challenge<br>
<br>
The profession has established descriptive standards for enhancing
discovery and transforming the use of textual and graphic archives.
Expectations for discovery and use of audio and moving image archives
can differ significantly from those for other archives, and the need in
many cases for mechanical intervention in accessing them presents
additional challenges.<br>
<br>
Can existing and emerging archival descriptive standards and
methodological approaches support discovery and access for audiovisual
archives or is there a need to expand or complement them? What do we
know or need to know about how users search for and discover audiovisual
archives? What types of interoperability for discovery and use across
repositories are needed? Are audiovisual archives oriented to the
semantic web? How can the profession make intelligent use of linked open
data? Can the profession provide adequate listening and viewing
opportunities?<br>
<br>
* • The Rights Challenge<br>
<br>
Intellectual property rights and widely variant international property
laws define the framework within which audiovisual archives may be
responsibly accessed and used. Multiple individuals or corporate
entities may participate in the creative process, and accurate
information about participants’ identities and roles is often difficult
or impossible to find.<br>
<br>
How are repositories and scholars negotiating the complex and often
contradictory rights expressed in varying national legislation and
regulation and international law? How can the public’s interest in
hearing and viewing historical recordings, scholars’ interests in
studying them, and creators’ rights to control their work be balanced
fairly? How do current laws governing rights affect the ability of
repositories to preserve audiovisual archives? Are there successful
models for collaborations with producers and rights holders to increase
long term preservation and broader access to historical materials? If
so, what are the elements of a successful collaboration, and how can
these successes be replicated? How do rights issues affect what archives
can charge for reformatting and use of their audiovisual holdings?<br>
<br>
• The Knowledge, Skills, and Capacity Challenge<br>
<br>
Preserving, managing, and enabling discovery and use of audiovisual
archives require staff with specialized training and skills, playback
and reformatting equipment, and extensive information technology
infrastructure. Only a limited number of outside services are able to
meet these needs for archival repositories. Most institutions have such
small quantities of audiovisual archives that they cannot justify
investments in staff, equipment, and technical infrastructure needed to
meet established and evolving professional standards.<br>
<br>
What are the best existing strategies for repositories to follow? What
are the barriers to greater availability of preservation services that
could enable a more comprehensive program of professional care for
audiovisual archives? How can limited funding best be applied towards
increased staffing and technical capacity? What are the untapped sources
for obtaining the necessary resources? Could we consider digital
audiovisual heritage as the engine for new jobs opportunities and
economic growth? How do we provide members of the profession at large
with the necessary skills to manage audiovisual archives, especially
when the market no longer provides this technical expertise?<br>
<br>
Proposal Submission Guidelines<br>
<br>
Proposals on the above themes for individual presentations or panels of
no more than three speakers are welcome. Proposals must be submitted no
later than 1 December 2014 and must include an abstract of each of the
proposed papers, each speaker’s name, affiliation, postal address, email
address, telephone number, and short professional biography.<br>
<br>
* • Abstract length is limited to 300 words or 2200 characters (including spaces).<br>
<br>
* • Proposals for a complete panel session will include a description of between 250 and 300<br>
<br>
words for the session as a whole, in addition to an abstract for each presentation.<br>
<br>
* • Individual presentations should be planned for no more than 20 minutes.<br>
<br>
* • Proposals will be accepted in English and French and can be submitted as .doc, .rtf, .txt, or<br>
<br>
.pdf files.<br>
<br>
* • A committee will conduct a peer review of the proposals. Review guidelines are available at:<br>
<br>
<a href="http://www.library.illinois.edu/ica-suv/ReviewCommGuidelines.php" target="_blank">www.library.illinois.edu/ica-suv/ReviewCommGuidelines.php</a><<a href="http://www.library.illinois.edu/ica-suv/ReviewCommGuidelines.php" target="_blank">http://www.library.illinois.edu/ica-suv/ReviewCommGuidelines.php</a>><br>
<br>
• If your proposal is accepted, a full text of each paper (10 to 12
pages) must be submitted by 28 April 2015 to facilitate preparation of
the conference proceedings.<br>
<br>
Important Deadlines Dates<br>
<br>
* • 13 October 2014 – Call for Papers published<br>
<br>
* • 1 December 2014 – Proposals due<br>
<br>
* • 15 January 2015 – Notification sent to proposers<br>
<br>
* • 28 April 2015 - Deadline for sending of the long texts of the communication (10 to 12 pages)<br>
<br>
to appear in the proceedings of the conference.<br>
<br>
Abstracts should be submitted to the ICA-SUV 2015 Conference Scientific Committee via email to: <a href="mailto:szary@email.unc.edu">szary@email.unc.edu</a><mailto:<a href="mailto:szary@email.unc.edu">szary@email.unc.edu</a>><br>
<br>
<br>
<br>
Scientific Committee for the Conference:<br>
<br>
Kevin Bradley, National Library of Australia; International Association of Sound and Audiovisual Archives, Australia<br>
<br>
<br>
Gene DeAnna, Library of Congress, USA<br>
<br>
<br>
Siobhan Hagan, University of Baltimore, Langsdale Library; Association of Moving Image Archivists, USA<br>
<br>
<br>
David Iglesias, Municipal Archives of Girona; Coordinator of the ICA
Working Group in Photographic and Audiovisual Archives, Spain<br>
<br>
<br>
Charlotte Maday,
University of Paris (Diderot), France<br>
<br>
<br>
Gavan McCarthy, co-chair University of Melbourne, Australia<br>
<br>
<br>
Caroline Rubens,
Appalshop Archives, USA<br>
<br>
<br>
Richard Szary, co-chair University of North Carolina at Chapel Hill, USA<br>
<br>
<br>
Steve Weiss, Southern Folklife Collection, University of North Carolina at Chapel Hill, USA</div></div><div class=""><div class=""><div class=""><div id=":591"><table class=""><tbody><tr><td class=""><br></td><td class=""><br></td></tr></tbody></table></div></div></div></div></div>-- <br><div dir="ltr"><div>carlos palombini<br>professor de musicologia ufmg<br>professor colaborador ppgm-unirio<br><a href="http://orcid.org/0000-0002-4365-7673" target="_blank">orcid.org/0000-0002-4365-7673</a><br></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div></div>
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