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IASA DIVERSITY TASK FORCE
MEETING AGENDA
Objective: It is important to understand the world we live in. It is heterogeneous in nature and so there is the need to build an inclusive environment that embraces sharing of varied thoughts and perspectives. This will ensure fairness, empowerment, add value to deliberations during meetings and make members feel part and parcel of the organization. It is a concern that the historical makeup of IASA may be contributing to a community that is less diverse and not wholly representative of all peoples and cultures. It is therefore anticipated that the establishment of the Diversity Task Force will primarily investigate and report on how diversity or the lack thereof within IASA affects our mission, vision and membership. Additionally, it is envisioned that the Task Force meeting will be a platform for networking.
Date: Sunday, September 17, 2017
Time: 9.30a.m -10.30a.m
Venue: Ethnologisches Museum, Room 2 (ground floor) Takustraße 40, Berlin, Germany
Meeting Type: Open meeting
Agenda Items:
1. Welcome and Introductions
2. Diversity in IASA (Discussion-Open)
3. Structure of Diversity Task-Force
4. Duties of the Diversity Task-Force
5. Elections/Volunteers for Task-Force
6. Next Steps for Task-Force
7. Any other business (AOB)
8. Closing
For a music enthusiast, or even for a librarian, the task of finding all resources connected to Aram Il'yich Khachaturian may be a daunting challenge. Ethnic Armenian of pre-Soviet birth, we find documents in Armenian (“Արամ Խաչատրյան”) and Cyrillic script (“Ара́м Ильи́ч Хачатуря́н”). His audience in the Western Hemisphere is juggling several transliterations, such as “Khachaturian”, “Kaciaturian”, “Chatschaturjan”, Chačaturjan, or “Xač'atryan”, to name but a few.
The fact that these strings all denote the same resource, the epoch-making composer, conductor, and mentor of a generation of Soviet musicians, remains in-actionable. Once entities become things (or resources) that can be linked to each other as a knowledge-base, to rules that can be used for more precise entity extraction, or as automatic quality checks, humans and machines can be made aware of such implicit knowledge. By making facts explicit like: ‘Khachaturian is an Armenian, born in Tiflis, June 6th, 1903, composer of the well-known Waltz from the Masquerade suite (1944)’, one can quickly find resources when searching for ‘Khatchaturian’, even if it doesn’t mention ‘Khatchaturian’ explicitly, and regardless in which language or script the resource is written.
With a semantic layer on top of content, data become meaningful because they are then put in a richer context, and they become actionable because they provide no longer just strings but machine-addressable and -processable things or entities.
Not only when juggling dozens of synonymous denominations for a person, maintaining lists is an everyday-task of information managers. Flat lists often are preferred just in order to avoid the additional overhead often imposed by taxonomies or thesauri.
However, such lack of structure quickly can become a quality issue. One example is dealing with crowd-sourced annotations. Crowd-tagging and folksonomies have become increasingly popular along the Web 2.0 wave. Picklists spawning the entire screen, and separating keyword-spam from keyword-ham are the reverse side of the medal. When data should drive business, actionable knowledge is once again required. Businesses cannot afford not to know if a person entering “coffee” into the search-box is looking for a package of ground beans, or for a place to relax.
A first step towards expressive data is the introduction of simple ontologies, which come at relatively low overhead. When using the Simple Knowledge Organisation Standard (SKOS) from the W3C set of semantic web standards, at the same effort as zoo-keeping a couple of spreadsheets we can get a fully-blown knowledge graph. This is offering concepts uniquely accessible by Universal Resource Identifiers (URIs), hierarchical and non-hierarchical relations, methods that allow for data quality assurance, and and Linked Data networking at the same time.
The IASA General Assembly is for IASA Members to carry out their annual business meeting. Members receive reports from the organization’s elected leaders on issues such as the organization’s financial status, membership statistics, relationships with other organizations, upcoming publications, and future plans for the organization’s affairs.
This meeting is a business meeting of the organisation, but it is open to all who would like to attend. Only IASA members may vote on any orders of business.
Exhibitors Are Here!
Industry colleagues will be on hand at IASA 2016 to share information about new technologies and services. Don’t miss out on the newest trends!
In October 1963, one of the most important Trials took place in the Pretoria Supreme Court. Nelson Mandela and nine others ANC’s leaders were tried for acts of sabotage.
The Rivonia Trial has been recorded on cylindrical soft vinyl films frequently used by South African justice courts : The Dictabelts.
In 2007, the Rivonia Trial collection is nominated to join the UNESCO’s World Programme International Register.
After an agreement signed on 20th December 2013 with DAC (Department : Arts and Culture), INA received the Dictabelts in October 2014 and in May 2015 to begin the restoration process.
The Rivonia Dictablets recordings represent an important part of the South African History and they are of high judicial importance. The restoration work has to respect a Charter of Ethics in order to keep all the authenticity of the Trial.
Shu-Mei Chen; Pei-Chen Yen
Keeping National Memories Alive: Audio Archives Preservation
Nauara Morales
The Challenges of preserving 30 years of Brazilian musical history
Jonáš Svatoš; Matěj Strnad; Kryštof Pešek
PrintRIP project - Large-scale film digitization by employing existing projection infrastructure
Atik Fara Noviana
LOKANANTA : A REFLECTION OF ARCHIVING THE INDONESIAN MUSIC ARCHIVES
George Gyesaw
MODERN FINDING AIDS SOLUTIONS FOR UNDER-RESOURCED AUDIOVISUAL HERITAGE INSTITUTIONS
Michael Laney; Shawn Nicholson; DevinHiggins; Lucas Mak; Nathan Collins
Creating and Automating Workflows for Embedding Metadata into Audio Files
Filip Šír; Peter Laurence
Connect, Collect, Collaborate: Join Us As We Create the International Bibliography of Discographies
Julie May (co-author / presenter); Brett Dion (co-author); Zaheer Ali (co-author)
Especially in times of reduced budgets, the growing need for storage becomes a problem for archival institutions. Even those who seem to have found effective storage solutions (like the Austrian Mediathek) have to face situations where there is not enough. When that happens, discussions about making compromises begin again, and always one of the first suggestions that arises is archiving in lossy formats.
Following the philosophy put forth in the IASA technical publication, TC 03 Safeguarding the Audio Heritage, we strive to digitize to the highest standard we can afford and avoid the risks associated with lossy or data-reduced formats. However, if the only choice is between digitization in lossy formats or nothing, then perhaps there are a few compromises which could be considered first.
In this workshop I would like to invite collegues from the archival community to brainstorm about those compromises and discuss this issue.
Agenda:
Are we talking about the same things?
Differences between „Storing“, „Archiving“ and „Longterm Preservation“
Concept of „Longterm Preservation“
How long is „Longterm“?
What are the expensive issues in dealing with storage?
What will probably become cheaper during time?
What could be postponed to later, better times?
What could be reduced?
Is storing in lossy formats the solution for our problems?
Calculation of storage with lossy format and lossless format
Calculation of collateral effects
Summary to include a group-produced, takeaway decision tree to help you face the problem.
Meet outside the museum entrance at 2:00 PM, where you'll be escorted to the U-bahn station [bring change to buy train tickets if you don't have a pass].
PV1: Audio Communication Group at Technische Universität Berlin
Research and teaching of the Audio Communication Group is dedicated to the communication of music and speech in acoustical or electro-acoustical systems. This includes topics such as electroacoustic recording and reproduction technologies, 3D audio by binaural technology or sound field synthesis, technologies for the composition and realisation of electroacoustic music and sound art, and empirical approaches to study the reception of media content.
The department runs two electronical studios with a 12 resp. 8 channel loudspeaker setup, a wave field synthesis laboratory with 192 channels, a 3D media lab including 180° panorama projection and dynamic binaural reproduction, and the world's largest wave field synthesis installation with 832 channels and 2704 loudspeakers. The audio communication group is organizing the master program in Audio communication and technology and contributes to the Tonmeister studies organised by the University of the Arts (UdK) Berlin.
http://www.ak.tu-berlin.de/menue/fachgebiet_audiokommunikation/parameter...
Meet outside the museum entrance at 2:00 PM, where you'll be escorted to the U-bahn station [bring change to buy train tickets if you don't have a pass].
PV2: German Cinematheque - Museum of Film and Television
The German Cinematheque (Deutsche Kinemathek – Museum für Film und Fernsehen) brings together the visual cultures of film and television and sheds light on the past and current history of both media. This combination is entirely unique in Europe.
The museum's permanent exhibition dealing with cinema draws on the rich collection assembled by the German Cinematheque since its inception in 1962. Among the highlights of the collection include Marlene Dietrich's extraordinary legacy as well as several other estates gifted to Berlin by filmmakers forced into exile. Visitors embark on a journey through a century of German film history in a display that uses mirroring effects, the orchestration of light and surprising passages to capture the fascinating power of film and the magical atmosphere of cinema. Film clips alternate with historical objects, while multimedia stations help to deepen visitors' knowledge and understanding of the genre.
The exhibition examining German television opened in 2006 and offers an entertaining overview of five decades of TV history in both East and West Germany. It enables visitors to immerse themselves in their own personal TV past and encourages them to take on a more conscious perception of TV images and programmes. Special exhibitions serve to complement the cultural and historical context of film and television. [Photo: Ständige Ausstellung, „Spiegelsaal“ Foto: Marian Stefanowski, Quelle: Deutsche Kinemathek]
Meet outside the museum entrance at 2:00 PM, where you'll be escorted to the U-bahn station [bring change to buy train tickets if you don't have a pass].
PV3: Deutsches Rundfunkarchiv (German Broadcasting Archive)
The German Broadcasting Archive (DRA) is a joint institution of the ARD and Deutschlandradio. It is a charitable foundation under civil law, with locations in Frankfurt am Main and Potsdam-Babelsberg.
The comprehensive collection includes analogue and digital sound and picture documents, documentary records, printed media and historical objects. The archive encompasses significant parts of the audiovisual tradition in Germany and reflects the development of the German broadcasting before 1945 as well as radio and television of the former GDR.
The DRA was founded in 1952 as the “German Broadcasting Sound Archive” and renamed the German Broadcasting Archive in 1963 following constant expansion of its responsibilities. In 1994, the former GDR’s radio and television broadcasting archive with 40.000 hours of video and more than 100.000 hours of radio productions was incorporated into the Berlin location, today based in Potsdam-Babelsberg.
Meet outside the museum entrance at 2:00 PM.
PV5: Ethnologisches Museum, Staatliche Museen zu Berlin - Preußische Kulturbesitz
Abt. Medien – Berliner Phonogramm-Archiv, Musikethnologie, Visuelle Anthropologie
The Media Department of the Ethnological Museum – National Museums Berlin, holds important collections reflecting more than 100 years of ethnomusicological research and recording technology: the famous historical collections of the Berlin Phonogram Archive, ethnomusicological sound recordings as well as musical instruments from seven decades and the Visual Anthropology collections.
The tour will focus on the wax cylinder recordings of the Berlin Phonogram Archive, made between 1893 and 1952, and approach questions of digitization, research, access, and publication.
Shu-Mei Chen; Pei-Chen Yen
Keeping National Memories Alive: Audio Archives Preservation
Nauara Morales
The Challenges of preserving 30 years of Brazilian musical history
Jonáš Svatoš; Matěj Strnad; Kryštof Pešek
PrintRIP project - Large-scale film digitization by employing existing projection infrastructure
Atik Fara Noviana
LOKANANTA : A REFLECTION OF ARCHIVING THE INDONESIAN MUSIC ARCHIVES
George Gyesaw
MODERN FINDING AIDS SOLUTIONS FOR UNDER-RESOURCED AUDIOVISUAL HERITAGE INSTITUTIONS
Michael Laney; Shawn Nicholson; DevinHiggins; Lucas Mak; Nathan Collins
Creating and Automating Workflows for Embedding Metadata into Audio Files
Filip Šír; Peter Laurence
Connect, Collect, Collaborate: Join Us As We Create the International Bibliography of Discographies
In the last few years the UK broadcasters have combined their efforts to produce a single standard and system for the delivery of programs. It combined with the move to file based delivery and the use of accelerated file transfer. The Digital Production Partnership made that possible and with it came a whole new way of working….
IASA 2017 Conference Dinner, Thursday 21st September, 7.00pm
Price: €25 per person (excluding drinks)
Location: Alter Krug, Dahlem, a friendly, traditional German restaurant with a large adjoining beer garden, situated just a two-minute walk from the conference venue. http://alter-krug-berlin.de/
Three-course set menu - drinks to be paid separately:
