Media & Learning provides a platform to those responsible for creating, promoting and using media in the classroom, on and off campus as well as in training and lifelong learning centres.
Headlined ‘From passive to active use of media in teaching and learning’, the aim 2014 conference – aptly hosted by the Flemish Ministry of Education in Brussels – was to promote the sharing of best-practice, exchange of know-how and hands-on amongst practitioners. With its clear call for action, it also gave policy-makers and decision-makers the opportunity to discuss how to develop digital and media literacy in the broader context of creativity, innovation and entrepreneurship and the value and impact of such skills in relation to the European work-force.
The conference programme covered a wide variety of themes grouped around the topic of media education and literacy. 300 participants from 44 countries learned about the value of using video and new media in education and were able to dip into master classes on programming, data mining, creating media productions and educational games.
As a freely accessible multilingual media resource, the EUscreen project effectively complemented the manifold European projects engaged in media and ICT-supported learning introduced over the two days.
In the year that commemorates the centenary of the First World War, media-supported remembrance education represented a special conference highlight with showcases from Europeana, BBC , INA, the VIAA platform and the IWU Institut Film und Bild.
All was wrapped up very glamourously with the MEDEA Awards ceremony, rewarding eight finalists for excellence in the production and pedagogical design of media-rich learning resources.
All in all a lot of food for media-related thought to take away and act on …
VIEW, the Journal of European Television History and Culture is the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It offers an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage. The journal is proud to present its third issue: European Television Memories. It has been guest-edited by Jérôme Bourdon & Berber Hagedoorn and is freely available at: http://www.viewjournal.eu
In the context of the fast development of memory studies, the third issue of VIEW highlights debates around the moving borders of national memories, fostered by television in the context of European history. The articles in this issue focus on the contribution of European television researchers, covering all three areas of media studies: production, text and reception. They touch upon a broad range of topics, including:
the reconstruction of the national past after regime changes in both Southern and Eastern Europe;
competing versions of the “same” past;
the fragile fostering of a European identity;
the regional/would-be national past.
The issue emphasizes the different ethnographic & historical uses of life-stories from television viewers. It hints at the possible changes to memory formation brought about by television in the post-network digital era. Finally, this issue charts the field of European television memories and suggests ways it can be researched further, both nationally and transnationally.
VIEW is published by the Netherlands Institute for Sound and Vision in collaboration with Utrecht University, Maastricht University and Royal Holloway University of London. It is supported by the EUscreenXL project, the European Television History Network and the Netherlands Organization for Scientific Research.
By Johan Oomen – technical director EUscreen and Europeana Network Officer – @johanoomen
Europeana has become the unifying entity that brings together collections from all domains: libraries, archives, audiovisual collections (both television and film) and museums. Alarmingly, Europeana’s future is under threat. In the next few weeks, Member States are expected to decide the EU’s budget for 2014-2020. The way the budget of the EU’s Connecting Europe Facility is allocated will determine how Europe’s rich heritage can be enjoyed, studied and repurposed. With this post, EUscreen would like to extend its full support to Europeana’s #AllezCulture campaign to secure EU funding after 2015.
The innovative hadron collider for the Cultural Sector
Europeana has evolved from a temporary project to a full network organisation. To date, it has successfully standardised and connected data from over 2,200 organisations, which cover all European countries and 29 European languages. An important, unifying asset for Europeana is that it serves as the innovative ‘hadron collider ‘ for Europe’s cultural sector. It does so by leading the movement towards open access, by harnessing the power of participatory culture and by implementing emerging IT standards in working systems. With a critical mass of content available online, the exploration of new applications by the creative industries are now taking shape. By making collections available online, interest is raised in both the public and commercial sectors. EUscreen for instance has already seen an increase of footage sale requests from the content that is made available through the portal.
EUscreen and Europeana: part of the same ecosystem
Without support from the European Union, EUscreen would not exist today. EUscreen and its sister projects such as the European Film Gateway have been granted financial support within a wider EU policy on providing unified access to Europe’s audiovisial heritage. Today, Europeana provides access to over 181.000 audiovisual items, a number to grow exponentially over the next years.
EUscreen and Europeana are connected in many ways; they are part of the same ecosystem. Not only in terms of technical standards to make unified access possible. The vision is, and has to be, much more ambitious than that. In an online context where sharing is the norm, it becomes almost a necessity for memory organisations to make their collections available online in order to retain and support community interest. Collections and their users now share the same information space. As a result, organisations rapidly need to adapt to maintain their relevance in this changing environment. We already see how, in the current economic climate, public libraries and public broadcasters are put under pressure to continuously demonstrate their added value, also in terms of their direct economic impact. This can be difficult to measure, also given the changing context in which these organisations find themselves in. Memory institutions need to receive the necessary support to forge their future missions and services, collaboratively. The Europeana Network will play a key role here, as it has broad support across memory organisations, has deep understanding of various stakeholders and also the critical mass to make necessary policy recommendations heard.
EUscreen’s support for #AllezCulture
Over the years, EUscreen has become the leading network of television collection holders with a united vision to share the wealth of their collections to a wide and diverse audience. With support from EBU, FIAT-IFTA, PrestoCentre, IASA and other key stakeholders, EUscreen is making this vision a reality each day. Currently, 29 archives from 25 countries are connected to EUscreen. EUscreen provides free and non-commercial access to Europe’s history as captured in moving images. This collection will continue to grow, and so will the services offered through the EUscreen portal. For instance, by further supporting multilingual access through subtitles, or expanding the material on the open access portal. This summer, the EUscreen Foundation will be established, providing the legal framework that will govern the EUscreen network as it expands well into the future.
Again, EUscreen and Europeana are part of the same ecosystem, aiming to:
Make Europe’s culture available for everyone. Through search interfaces, but also online exhibits, crowdsourcing campaigns and so on;
Support economic growth, by supporting re-use of content by the creative industries;
Connect Europe’s citizens. To understand the past and to appreciate cross-cultural differences and commonalities.
Europe has collectively invested over 1.2 billion euros in digitisation. Europeana is the only platform that brings this data together and offers it for unlimited use. We have just begun to unlock its potential. We, therefore, urge the EU to allocate sufficient funds in the ‘Connecting Europe Facility’ to allow the Europeana Ecosystem to further expand and live up to its ambitions vision.
We encourage all audiovisual archives to express their support. Capture the attention and imagination of the people who influence decisions on CEF funding – raise your voice and share the successes and value that you have helped create via Twitter, LinkedIn, Facebook and any other channels you can think of.
EUscreen’s Virtual Exhibitions entered the second round of one of the most prestigous competitions in the audio-visual archiving domain: FIAT/IFTA’s Archive Achievement Award 2013. It presents the most exciting audiovisual projects of the year and invites you to choose your favourite and vote for it.
To help users get the most from the EUscreen material, researchers, experts and members of its partner broadcasters and audiovisual archives have created a series of online exhibitions. They cover historical events, political debates and everyday life in Europe. Designing the VE tools has included various activities. Virtual Exhibition builder prototypes have been developed and tested incrementally in order to reflect the needs of the different users and to improve the ease of use.
The tools designed for these exhibitions allow for the insertion of multimedia materials from all the project’s content providers. The clips link back to the original items on the site, where users can find out more about them, share the links or get in touch with the providers themselves. 23 exhibitions with multiple strands have been produced in 2012. In the new EUscreenXL project, we’ll be working on pilots to get the tools ready for everyone to start creating their own exhibitions.
The worldwide organisation FIAT/IFTA has been handing out Archive Achievement awards since 1994. A professional jury decides on the winners, but in certain categories voting is open for the wider audience. The votes from all over the world are collected by August 12th, 2013 and a winner will be announced on October 26th at the Archive Achievement Awards Ceremony during the 2013 FIAT/IFTA World Conference in Dubai. Enough time. we’d say to take a look at the various inspiring archival projects and to give your vote to the project you like best.
Screening the Future is a two-day conference with a focus on the preservation of digital media.This international conference brings together leaders in the fields of technology and research and those with a strategic responsibility for digitisation and digital preservation in the creative and cultural industries. The conference aims to navigate participants through current case studies and the latest thinking on standards and planning for the digital preservation of audiovisual assets.
Screening the Future 2013
May 7-8, London, Tate Modern.
For thirty years (or more in some cases) institutions and individuals have been producing sound and moving image content digitally, whether born digital or converted from analogue sources. What is the range of all this content? Are there common solutions to preservation questions? Can we find and share solutions by bringing together communities of practicefrom as wide a range as possible?
PrestoCentre is a non-profit organisation set up specifically to support audiovisual preservation any way it can. It promotes activities to support nine av preservation-connected communities:
Artists and Art Museums
Music and Sound Archives
Video Production and Post-Production
Film Production and Collection
The annual showcase by PrestoCentre takes place from May 7-8 at the Tate Modern, London, UK. Visit the conference website (http://2013.screeningthefuture.com) to find out more about the programme and speakers. The Tate venue should attract the notice of the Art and Art Museum community, but the conference has a wider programme and a wider ambition: to bring all these communities to one place (and time) so they can help each other out.
“Meet someone you don’t know – with problems you do know”
Key Topics of the conference include:
Sector-based responses to the changing technological nature of media assets in our collections and archives
Sector-based trends in preservation technology
Institutional responses to how collection and preservation mandates are realised and stretched by the digital
Media preservation as a sound investment; new methodologies for valuing our media assets
The psychology of preservation; our motivations and dynamics in practice
Maintaining a vision in a culture of operational alliances and partnerships
Acknowledging and advocating for difference; understanding the impact of sector-based and institutional distinction on preservation strategies and solutions
Featured Speakers include:
Matthew Addis (Arkivum Ltd.)
Sam Gustman (USC Digital Repository and Shoah Foundation)
Rob Hummel (Group 47, LLC.)
Michael Moon (GISTICS Inc.)
Kara van Malssen (AudioVisual Preservation Solutions)
Mark Schubin (SMPTE Fellow)
John Zubrzycki – conference chair (British Broadcasting Corporation)
In the era of YouTube, podcasts and vidcasts new pioneering guidelines, launched today, will be crucial for students, researchers and academics when they cite moving image and sound sources, or provide advice on referencing them.
The British Universities Film & Video Council’s (BUFVC) guidelines respond to the 2011 Jisc report, Film and Sound in Higher and Further Education: A Progress Report with Ten Strategic Recommendations. The report found that despite the exponential increase in the use of audiovisual material in teaching, learning and research in higher and further education, existing guidelines for the referencing of moving image and sound are often insufficient as they are based on standards developed for the written word. This has the effect of discouraging the citing of moving image and sound, as well as creating barriers in its discovery, use and re-use.
Professor John Ellis, professor of media arts, University of London, says: Citation exists so that you can find the source of any quotation. The rules have long since been worked out for print sources. However, for moving image and sound, no-one quite knows what to do, so references are usually imprecise and sometimes left out completely. This guide now makes it possible for any writer (even a student) to lead their readers to the exact audiovisual source they are discussing. It might seem a simple problem to solve, until you realise that there are a multitude of different types of audiovisual source!
The guidelines are practical, accessible and applicable to a wide range of different users across all disciplines. They encourage best practice in citing any kind of audiovisual item. They cover film; television programmes; radio programmes; audio recordings; DVD extras; clips; trailers; adverts; idents; non-broadcast, amateur and archive material; podcasts; vodcasts and games.
Professor Miles Taylor, director, Institute of Historical Research, University of London, says: The difficulty of referencing such important sources has only been compounded by the increasing availability of much of this material online. The wonderful new guide produced by the BUFVC cuts through the uncertainty and complexity and will undoubtedly encourage historians and researchers in other disciplines to make greater use of audiovisual source materials – whether a computer game, a television channel ident, a previously unaired radio programme or a Hollywood film. I strongly encourage journal editors in particular to add it to the guidance that they provide for authors.
Academic Working Group
To produce these guidelines, BUFVC established a working group of academics, researchers, journal editors and archivists, formed as part of the HEFCE-funded Shared Services project. Richard Ranft, head of sound and vision at The British Library, says: From the beginning of the 20th century, sound and moving image media in all their various formats have captured the most significant moments in human creativity and endeavour. Yet even in the present century, there remains doubt over the validity of referencing sound and moving images, whether in academic publishing or the popular media, due in part to the absence of accepted citation guidelines. By establishing clear instructions that are on a par with traditional bibliographic citation styles, this new publication will help unlock the vast resource that is preserved in sound and moving image archives.
This is the first edition of the guidelines and it will be reviewed periodically to respond to advances in technology, the development of new media platforms and the needs of the user. The BUFVC welcomes comments and feedback via firstname.lastname@example.org, or join the discussion by tweeting @bufvc #AVcitation
Try imagining all the world’s existing audiovisual material: all the films ever made, plus the television footage ever shot, plus all the sounds once recorded – add the scientific and military observations and home videos, the (super) 8 mm recordings, the YouTube generation’s creations. Then, try to visualise not the kilometers of celluloid or optical disks or hours and lifetimes it would take to see it all, but what the possible value of all those sounds and images would be.
Do they indeed, as the author of the just released report Assessing the Audiovisual Archive Market, Peter B. Kaufman, proposes, form a sort of crude oil – ready to be refined, reassembled and made into a new creative product?
In the same way that oil, pumped from the ground, is refined and then used to fuel transportation and industry, or iron, mined from the ground, is smelted into steel and used in construction, so audiovisual materials mined from the archives form part of the backbone of information, com- munication, and our creative knowledge economy, worldwide.
Assessing the Audiovisual Archive Market
Assessing the Audiovisual Archive Market: Models and Approaches for Audiovisual Content Exploitation was commissioned by PrestoCentre, the international competence centre for digital audiovisual preservation. It explores the ways that a audiovisual archives have been “examining, appreciating, and even embracing business and commercial interactions in the digital age”. The report takes a look back at 124 years of audiovisual archiving and how the challenge of preserving moving images and sounds has reached increasing levels of complexity.
This increased complexity, not in the least caused by the advent of digital production and storage methods, leads to a mirrored exchange between the access and preservation tasks of the contemporary archive: twin missions, as Kaufman calls them, that “twist around each other like the double helix of a modern memory institution’s DNA.” The paper investigates the forms and methods audiovisual archives have been approaching to fund this double mission and how they have shifted some of their attention towards possible cooperation with businesses and even taken advantage of existing commercial opportunities.
new opportunities for cultural heritage institutions to develop business models, revenue streams, and business knowledge — and in the process gain an even greater appreciation for the role they play in media, society, and our economies today — abound. This paper, focusing as it does on such opportunities, may provide activists in the field with inspiration and support.
In order to define the value of an audiovisual collection, one needs to get a clear idea about the costs involved – by mouth of one of the interviewees, the report states that “use has begun to define value”. Inversely, an item that is not well preserved, cannot be found and thus not used by anyone, ever again. The paper stresses the importance of access as a form of open access: the value that lies in use, sharing, reuse can only be realised when unrestricted online access allows participant from different online realms can use web tools to popularise and contextualise the assets. The paper intends to suggest that in the double helix between preservation and access, “support for one is support for both”.
It also underlines the need for the audiovisual archiving field that in dealing with the multi-billion dollar business partners who are currently so important for finding, exploring, discovering and buying media on the web, the field of archives and museums needs to be well aware of its value and importance, as well al the sensitivities we share and the experiences we’ve had.
No agent has been retained to represent the interests of libraries, archives, and museums, in the way an author or musician might retain one. No lawyers have been hired to pore over the body of agreements to date and highlight best practices for the community. No working group focused exclusively on improving public-private partnerships has been assembled and charged with a mission and a deadline. If the commercial sector is investing hundreds of millions of Euros, and a hundred billion are needed, we had better get started.
The report offers 7 Recommendations and proposes the development of four new tools for a smarter (re-)use of audiovisual archival content. The recommendations are:
Audiovisual archives should consider themselves part and parcel of the knowledge economy.
Audiovisual archives should recognize that multibillion-dollar businesses are growing based on materials they curate; and as a result their institutions deserve to participate in the revenue these materials are generating, in the knowhow that they are contributing, and in other direct and indirect benefits these materials are making to the world.
Audiovisual archives more than anything need something approximat ing an old-fashioned guild, where collective knowledge can come to rest, and where business savvy from attorneys, dealmakers, and others might be fielded and centralized.
The field needs to hire, in effect, an advocate — perhaps a sanhedrin of wise men and women who can look after its collective interest and help it argue on its own behalf and on behalf of the public sector.
When approaching business relationships, audiovisual archives should consider the arrangements from the perspective of their commercial partners, recognizing that the strongest players in the audiovisual marketplace are in the business now for the long term, making strategic rather than tactical investments in the sector.
Archives should recognize in particular the value of their building comprehensive metadata resources and optimizing their audiovisual resources for search and discovery.
In the audiovisual archive world, archives have been dealt a strong hand. They need to recognize that audiovisual material now and over time will be the most sought- after assets to monetize.
Since 1997, the Media Management Commission of FIAT-IFTA has organised a series of seminars for AV-documentalists, archive policy-advisers, middle management and staff. The main theme of these seminars is always: the consequences of the technological developments for the work of moving image and sound archivists. This year, the MMC dedicates its 6th Seminar in the serial Changing Sceneries, Changing Roles entirely to the phenomenon of metadata and its increased significance to access, collection management and the preservation of AV-collections.
In digital archiving, the concept of metadata is crucial. Only with the help of metadata can archives make their treasures accessible to users: metadata is capable of linking the contents of many different collections, forming a huge worldwide (or, in the case of EUscreen: European-wide) network of online sound and images. Ingesting, managing and preserving the rapidly growing amount of digital files in each individual archive would be impossible without the controlling power of standardised metadata.
The two days of the seminar will be divided into four sessions that each consist of a keynote address, two to three case studies/concrete projects and panel discussions. The four types of metadata developments that will be addressed in the four sessions are:
Automatically generated metadata (keynote: Cees Snoek , computer scientist at the University of Amsterdam who leads a research team working on the development of a smart search engine for digital video: the Media Mill Semantic Video Search Engine)
Preservation metadata (keynote: Rebecca Guenther, who works at the Library of Congress and is currently the worlds leading authority on Preservation Metadata Implementation Strategies or PREMIS)
User-generated metadata (keynote: Lora Aroyo, associate professor Intelligent Information Systems at the Web and Media Department of Computer Science at the VU University Amsterdam)
While the keynote speakers will explore these areas, archive-practitioners from prestigious broadcasters and institutions will present how they collect, create and employ metadata in new and/or digital ways. Every session is evaluated by way of discussions between a variety of AV-experts, focusing on the professional impact of the presented views and developments.