[ANPPOM-Lista] Call for Papers | ICA-SUV 2015 | Audiovisual Archives

[Carlos Palombini]

Audiovisual Archives in Universities and Research Institutions

Call for papers

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.

The Scientific Committee for the 2015 ICA-SUV Conference invites proposals
for papers addressing any of the following themes and questions:

• The Preservation Challenge

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.

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?

  *   •  The Discovery Challenge

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.

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?

  *   •  The Rights Challenge

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.

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?

• The Knowledge, Skills, and Capacity Challenge

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.

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?

Proposal Submission Guidelines

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.

  *   •  Abstract length is limited to 300 words or 2200 characters
(including spaces).

  *   •  Proposals for a complete panel session will include a description
of between 250 and 300

words for the session as a whole, in addition to an abstract for each
presentation.

  *   •  Individual presentations should be planned for no more than 20
minutes.

  *   •  Proposals will be accepted in English and French and can be
submitted as .doc, .rtf, .txt, or

.pdf files.

  *   •  A committee will conduct a peer review of the proposals. Review
guidelines are available at:

www.library.illinois.edu/ica-suv/ReviewCommGuidelines.php<
http://www.library.illinois.edu/ica-suv/ReviewCommGuidelines.php>

• 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.

Important Deadlines Dates

  *   •  13 October 2014 – Call for Papers published

  *   •  1 December 2014 – Proposals due

  *   •  15 January 2015 – Notification sent to proposers

  *   •  28 April 2015 - Deadline for sending of the long texts of the
communication (10 to 12 pages)

to appear in the proceedings of the conference.

Abstracts should be submitted to the ICA-SUV 2015 Conference Scientific
Committee via email to: szary em email.unc.edu<mailto:szary em email.unc.edu>



Scientific Committee for the Conference:

Kevin Bradley, National Library of Australia; International Association of
Sound and Audiovisual Archives, Australia


Gene DeAnna, Library of Congress, USA


Siobhan Hagan, University of Baltimore, Langsdale Library; Association of
Moving Image Archivists, USA


David Iglesias, Municipal Archives of Girona; Coordinator of the ICA
Working Group in Photographic and Audiovisual Archives, Spain


Charlotte Maday, University of Paris (Diderot), France


Gavan McCarthy, co-chair University of Melbourne, Australia


Caroline Rubens, Appalshop Archives, USA


Richard Szary, co-chair University of North Carolina at Chapel Hill, USA


Steve Weiss, Southern Folklife Collection, University of North Carolina at
Chapel Hill, USA


-- 
carlos palombini
professor de musicologia ufmg
professor colaborador ppgm-unirio
orcid.org/0000-0002-4365-7673
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