Effectiveness of Using Audio Visual Technology in Preschool Education

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TAPE
Training for Audiovisual Preservation in Europe

Audiovisual research collections and their preservation
Dietrich Schüller

European Commission on Preservation and Access, 2008

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Audiovisual research collections and their preservation – Dietrich Schüller

This report is published in the framework of TAPE (Training for Audiovisual Preservation in Europe), a project funded under the Culture 2000 Programme of the European Union, running from 2004 to 2008. TAPE partners: European Commission on Preservation and Access, Amsterdam (coordinating partner) Finnish Jazz and Pop Archive, Helsinki Head Office of State Archives in Poland, Warsaw Phonogrammarchiv, Austrian Academy of Sciences, Vienna Reproduction, Binding and Restoration Centre for the State Archives of Italy (CFLR), Rome

© Some rights reserved. Usage and distribution of this work is defined in the Creative Commons Attribution-NonCommercial-Share Alike 3.0 Netherlands License. To view a copy of this licence, visit http://creativecommons.org/licenses/by-nc-sa/3.0/deed.nl. Published by the European Commission on Preservation and Access, Amsterdam, www.knaw.nl/ecpa March 2008 Available at http://www.tape-online.net/docs/audiovisual_research_collections.pdf Typesetting and design: Ellen Bouma

Dietrich Schüller – Audiovisual research collections and their preservation

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Contents

Introduction 4 The technical challenge of audiovisual preservation 6 The awareness of these challenges on the side of collection holders 7 Typical organisational structures of audiovisual research collections 7 Possible strategic measures to solve the preservation problems 9 Specific obstacles to organise and finance preservation 9 Measures to ensure preservation by enhancing attractiveness of collections International, European and national cooperation 11 Summary 12

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Annexes Annex 1. Survey of hidden audiovisual collections in Europe 14 Sabine Pinterits and Burkhard Stangl Annex 2. Audiovisual research archives in Eastern Europe: five case studies 23 Annex 3. Memoriav 34 Kurt Deggeller Annex 4. Audiovisual holdings in Austria: a quantitative survey of materials held in- and outside audiovisual archives in a narrower sense (abstract) 36 Select bibliography 38

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Audiovisual research collections and their preservation – Dietrich Schüller

Audiovisual research collections and their preservation

Introduction
Today, the by far greatest part of the audiovisual heritage is comprised of products of the entertainment industry and of the so-called electronic mass media, radio and television. But those who invented sound recording and cinematography had neither the music nor the film industry in mind when they developed methods to capture sound and moving images. It was the scientific interest in the nature of acoustical phenomena, specifically in the physics of the human speech, that triggered sound recording, whereas the interest in understanding movement to a level of detail that could not be analysed with the blank eye stimulated the development of film. Only a few years after their development, however, these new technologies became the backbone of commercially highly successful entertainment industries. As they made it possible to investigate acoustic and visual phenomena objectively, these new technologies became the basis for several disciplines: Dialectology and ethnolinguistics, ethnomusicology, and greater parts of anthropology, notably rituals and dance, but also the documentation of traditional technologies and working skills are in the centre of scholarly interest. Consequently it was the academic world that started audiovisual archiving by systematically establishing sound archives. The foundation of the phonogram archives in Vienna (1899), Berlin (1900), St Petersburg (1908) and Zürich (1909) was accompanied by many other sound collections set up as part of research institutions and museums. They all dealt more or less systematically with...
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