International Association of Sound and Audiovisual Archives (IASA) Journal <p>The <strong><em>Journal of the International Association of Sound and Audiovisual Archives</em></strong>&nbsp;represents the collected research and applied work of the global audiovisual archives community. Also known as the IASA Journal, it is published in issues bi-annually and available to all members of the IASA community.&nbsp;The IASA Journal uses a double-blind peer-review methodology (the authors do not know who reviews their papers, and reviewers do not know who wrote the papers they are reviewing).</p> en-US <p class="p1">Unless stated otherwise, authors&nbsp;license their work under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.</p> <p class="p1">Signed articles and reviews represent the opinions of the authors and do not necessarily reflect the policies of the Association.</p> (Bertram Lyons) (Bertram Lyons) Fri, 21 Dec 2018 00:00:00 +0000 OJS 60 Editorial Bertram Lyons ##submission.copyrightStatement## Mon, 26 Nov 2018 00:00:00 +0000 President's Letter Toby Seay ##submission.copyrightStatement## Mon, 26 Nov 2018 00:00:00 +0000 Tribute: Claes Cnattingius <p>Claes Cnattingius, honorary member of IASA, died in Stockholm on March 6, 2018.</p> Rolf Schuursma, Ulf Scharlau ##submission.copyrightStatement## Mon, 17 Dec 2018 00:00:00 +0000 Announcement: First Edition of IASA-TC 06 Online <p>Archives hold original video recordings in a range of types, from media-dependent, carrier-based analogue videotapes to computer-file-based digital recordings. The appropriate preservation treatments for this array reflect the variation in the source recordings. For analogue videotapes, for example, digitisation is called for. Meanwhile, examples of digital file-based recording may require rewrapping into a fresh file "wrapper" or a combination of digital transcoding and rewrapping.</p> <p>When complete, IASA-TC 06 will cover the full range of topics in the preceding paragraph, as well as providing advice on shooting ethnographic, documentary, and oral history video footage in a manner that maximizes its "preserve-ability".</p> Carl Fleischhauer ##submission.copyrightStatement## Sat, 13 Oct 2018 00:00:00 +0000 Musings on the Importance of Harnessing the Power of the Internet to Improve Access to Soundtracks <p>In the last century, information creation has exploded; more books, newspapers, magazines than ever before; radio shows, recorded music, movies, TV shows, continuous live news, user generated web content, 3D, virtual reality, games, hybrid media types mixing genres and recycling older data, and the list goes on and on. With the digital revolution, this phenomenon of information creation, mixing, recycling, and sharing is ever expanding. Because of the power of the Internet, it has never been so easy to create, save, and share information that will seemingly last forever.</p> Sami Meddeb, Louis Fortin ##submission.copyrightStatement## Mon, 17 Dec 2018 00:00:00 +0000 On the Bright Side of Data Migrations <p>Let us be very clear from the very beginning: I do not consider data migration a good thing at all for the archive community. On the contrary, it costs a lot of time, money, and effort to be achieved accurately. But it cannot be avoided. I will discuss here how data migrations can be used efficiently for modifying, where necessary, the archive’s containers, codecs, data and metadata. During the two dozen of data migrations we have carried out for ourselves and our clients, we could actually fix errors in the structure and metadata of the archive, and also we could replace obsolete or endangered formats with current ones. This allows us to change or adjust the strategy when needed. We could update the data and therefore realise maintenance of the digital archive.</p> Reto Kromer ##submission.copyrightStatement## Thu, 01 Nov 2018 00:00:00 +0000 Joining Forces in Audiovisual Digitisation, Digital Preservation and Access <p>The paper presents the benefits of a collaborative approach in the domain of audiovisual archiving in two very different contexts: NCAA in India and VIAA in Flanders. Following an initial contextualisation in the respective countries, the authors share a detailed modus operandi, outlining the functionalities and traceability matrices of the implementation processes involved in the networks that they have managed to build. Especially critical are the insights and parallels between NCAA and VIAA in the domains of audiovisual digitisation, digital preservation and access. Concluding with a look to the future, the authors hope to put forward the idea that a well-defined collaborative approach has the potential of functioning as a possible solution to the needs and aspirations of all stakeholders - content providers, digitisation agencies, archival network and a wide range of potential users.</p> Brecht Declercq, Irfan Zuberi ##submission.copyrightStatement## Mon, 17 Dec 2018 00:00:00 +0000 Sound Practice: Evaluating DACS Compliance in Archival Description of Music Recordings <p>Standardization of descriptive practice supports improved access to archival collections with sound recordings of music.&nbsp; However, description of music sound recordings is complicated because of the unique characteristics of both music and sound recordings.&nbsp; Unfortunately, the standard for archival description in the United States, <em>Describing Archives: A Content Standard</em> (DACS), does not supply specific rules for music sound recordings, although it does recommend that archivists consult <em>The International Association of Sound and Audiovisual Archives (IASA) Cataloguing Rules: A Manual for Description of Sound Recordings and Related Audiovisual Media</em> for guidance.&nbsp; Given the wide range of descriptive options available via this recommendation, this study evaluates the extent to which finding aids for music collections with sound recordings successfully adhere to DACS, both in the application of IASA’s <em>Rules </em>as well as overall compliance with the standard in description of music sound recordings.&nbsp; Using document analysis methodology, this study finds low compliance with DACS and shows that finding aids commonly fail to apply IASA’s <em>Rules </em>correctly in description of music sound recordings.&nbsp; More research is needed to determine the reason(s) for this noncompliance. &nbsp;Possible solutions to improve standardization could include updating and clarifying the instructions in DACS, or using a different standard that provides specific instructions for description of archival sound recordings.</p> Elizabeth Surles ##submission.copyrightStatement## Mon, 17 Dec 2018 00:00:00 +0000 Moving Image User-Generated Description <p>This article explores temporal influences on compressive social tagging generation for archival moving image materials through a quasi-experimental study. Forty participants tagged the same video segmented into differing lengths. Analysis of the resulting data found the average number of user-generated tags is influenced by the length of the video within moving image collections. Specifically, the average tagging rate for a short video was higher than its lengthier counterpart.</p> Edward A Benoit ##submission.copyrightStatement## Wed, 29 Aug 2018 00:00:00 +0000