Digital Media Collections Are An IT Problem But Not An IT Solution

The power and the flexibility of content use and distribution in the digital realm is enabled by the ability to break everything down into the same essential components, into the 1’s and 0’s that form the atomic structure of data. In its idealized form, that content and the persistent structural wholeness of digital files do not matter in the same way they do with analog materials. One would not tear pages out of a book to ship it separately in smaller envelopes, nor would one store half-second fragments of a film on separate shelves in a room. The works could be reformed, but no easily nor cleanly. Data, however, those 1’s and 0’s, is sent, received, and shuttled around in packets, the fragmentation and compressibility of the whole, unlike with analog works, supporting efficiency, portability and far reaching usability for research and creativity.

The shift to digital workflows has necessitated a major shift in how we conceptualize the use and storage of assets. Creators, owners, records managers, and archivists are no longer the sole stakeholders in how documents and materials are taken care of long term. There is now a greater need to understand data management, technological infrastructure, and the particulars of software, hardware, files types, codecs and more. Likewise, the ease of creating and versioning digital works has led to an explosion in the number of files (as well as the number of network, local, and detachable drives to squirrel them away on), resulting in an overwhelming bevy of content to track and maintain. In a corporate or institutional environment, a creator or overseer of digital assets must either educate oneself on these topics or rely to a greater degree on IT departments to help manage their materials.

Integration and collaboration between departments is an essential component of organizational success today -– sharing resources, eliminating redundancy, and open communication help prevent the waste and lack of innovation that can doom an organization to irrelevancy and worse. However, the people who should be in control of setting policies for file management and for selection and implementation of asset management tools — the archivists and records managers out there — have ceded too much ground to a pure IT mindset.

As I see it, providing solutions to problems means applying one’s areas of expertise to derive something that attempts to approach a balanced mix of functionality, efficiency, usability, and elegance. In the world of archives and media collections, this means, among other things, making decisions about metadata, file types, storage systems, and distribution systems that support findability, longevity, and flexibility for current and future use. Under an IT mindset, solutions hinge, among other things, more on processing speed, maximizing storage capacity, decreasing time to market or implementation, and monitoring data flows. Of course these things matter to people using or providing access to digital assets, but the paths to the end solution — compression or low resolution, out-of-the-box asset management, decentralized or uncontrolled metadata creation, etc. — are fraught with hazards for media. By not taking a more active role in the policy and decision making process, caretakers for media collections put the safety and usability of their assets at risk as well as their own ability to perform their responsibilities to the collection and to the organization.

At their core files are just data, but the ways we manage, use, interact, and create with them rely on intellectual, humanistic, or organizational structures that step away from data and back into nuance, language, and user experience. When we bandy about terms such as digital archive and digital asset management, we are actually using broad categorizations to simplify references to a host of complex and distinct solutions for working with file-based collections, solutions that vary greatly depending on the avenues of access and the functional needs of the organization.

This is especially true with audiovisual content, which presents much different needs and distribution methods than straight text files, including considerations for time-based presentation, aesthetic quality, and the management of very large files. For example, distributing assets publicly over the Internet may utilize lower-quality, “access copy” versions of content in a system designed to promote simple search and playback through streaming. Distributing assets internally to a marketing or development department may instead utilize high-resolution copies of content that can be downloaded and edited into new assets, retrieved through a system that promotes advanced search and integration with editing software. But both of these solutions only support findability and usability for media collections; they do not represent the needs of preservation for the highest resolution originals or preservation masters. These versions are infrequently accessed and, for audiovisual content, may range in the hundreds or thousands of gigabytes per file, thus solutions may include offline storage and ought to include redundancy and geographical separation of backups.

This is one area where the interpretation of what an archive is and what an archive does come into conflict. In environments such as email programs, “archiving” has traditionally been used to mean moving data off into deep storage so it is not eating up active space needed for incoming information. This is considered to be data maintained primarily under retention policies and is not meant to be quickly searched for and called up. Deep storage has its place as a strategy, but it should not be confused with the true sense or value of an archive or collection. An archive is a living resource within an organization, maintaining legacy assets but also bringing in new creations, and providing accessibility to both…If the proper resources and support are allocated to the archive itself. Archives are long-term investments, paying off over time by extending the usability of short-term investments, i.e., acquisition and creation of assets. Shortchanging the archive’s ability to do its work now devalues past and current efforts by denying them a future.

Archivists have centuries of tradition, learning, and research which have informed the development of current practices, with an increasing focus on managing digital collections. IT professionals have their own areas of expertise, but these do not expand to all aspects of dealing with file-based materials. Tracking complex relationships among related or derivative assets… Providing accessibility at the intellectual rather than just the physical level… Selecting file formats and codecs based on potential longevity and fidelity to analog source originals… Developing metadata models that adhere to professional standards and that support the activities of collection management… These and more are areas of digital archiving that rely on data practices but that include considerations well beyond those of ground level data management. Today’s archival professional needs to collaborate with IT — as well as many other departments — but we also need to step up and take back control of those aspects of our collections that rightfully belong in our care.

— Joshua Ranger

Are You Celebrating World Day For Audiovisual Heritage 2011 Correctly

As we sit under the Heritage Eucalyptus Tree amongst our non-destructively opened and carefully unpacked and documented acid-free gift boxes, beaming with joy over finally getting that relapped 4-track 1/4″ audio head, that PAL 3/4″ U-matic deck which just needs a little bit of soldering work, or that secreted away barrel of 1,1,1-Trichloroethane, I feel that we should take a moment to reflect a little bit.

Yes, World Day for Audiovisual Heritage is a magical time of year, full of treasures revealed and correctly presented aspect ratios…But, have we become so distracted by the materiality of archiving that we have lost touch with the true reason for the season, that we have forgotten the deeper meaning of this day?

There are many lessons to draw from this, such as the correct care and handling of audiovisual materials includes not putting them in your mouth. Aside from this, however, we should also understand that Heritage is not always the transcendant pinnacle of culture. Our heritage, the products of our existence, can just as often be drivel, pablum, doggerel, dogma, pedantry, cruel, ugly, ephemeral, temporal, banal, tiresome, empty, tedious, and unworthy of notice.

That being the case, those are the things that need an equal amount of our advocacy. As caretakers, archivists are responsible for preserving the full picture of a culture, everything on the continuum from depravity to beauty, from the sophomoric to the beatific, from the “Meh” to the “Oh, man!” There is power in the content, but, as important, there is power in the audiovisual medium that reaches or affects people in untold ways, which is why our audiovisual heritage matters, whether projected on 35mm nitrate or viewed online from an uploaded cell phone video.

So today, sit back, put a nice drink in your mouth (It’s okay! I said you could!), and enjoy the mess that is being human that we try so hard to capture and define in the frame.

— Joshua Ranger

Association For Recorded Sound Collections Releases AVPS Co-Ordinated Metadata Study

The Association for Recorded Sound Collections Technical Committee (ARSC TC) recently announced the release of their “Study of Embedded Metadata Support in Audio Recording Software: Summary of Findings and Conclusions”. AudioVisual Preservation Solutions President Chris Lacinak and Consultant Peter Oleksik played significant roles in co-ordinating the study and authoring the report, along with invaluable contributions from Walter Forsberg (NYU), Mike Casey (Indiana University), Marcos Sueiro Bal (WNYC Radio), Tom Endres (BMS/Chace), Tommy Sjöberg (Folkmusikens hus), Bruce Gordon (Harvard University), Preston Cabe (George Blood Audio & Video), and the full Technical Committee.

According to the ARSC press release, the study was designed by the Technical Committee to evaluate “support for embedded metadata within and across a variety of audio recording software applications” in order to assess two primary questions:

1. How well does embedded metadata persist, and is its integrity maintained, within any given file as it is handled by various applications over time?

2. How well is embedded metadata handled during the process of creating a derivative?

The findings of the study are of major importance to individuals and organizations concerned with the long-term use and management of digital audio files, concluding that “persistence and integrity issues are prevalent across the audio software applications studied”. Until now the internal workings of files and software studied here have been obscure or inaccessible to the majority of people who work with digital audio. Thanks to the methodologies developed by the Technical Committee and the development of tools like BWF MetaEdit, that knowledge and the means for integrity testing have been opened up to archivists, producers, engineers, and other stakeholders. AVPS is honored to have had the opportunity to contribute to this work.

Chris Lacinak Addressing 131st Audio Engineering Society Convention

AVPS Founder and President Chris Lacinak will be co-presenting the workshop “Got Metadata? Historical, Cultural, and Future Issues of Information Association for Archiving Audio Materials” at the 131st Audio Engineering Society (AES) Convention taking place in New York this week. Along with workshop Chair Thomas Ross Miller (New York University) and co-Panelist Holger Grossmann (Fraunhofer Institute for Digital Media Technology IDMT), the session will “[explore] the past, present, and future of metadata standards in archives and preservation” with case studies that show how “metadata is an integral component of preservation and an essential part of the audio object” and that “meaningful access depends on effective linkage to information stored as metadata.”

As a follow up to the ARSC Technical Committee research study he led and AVPS’s work with the Federal Agencies Digitization Working Group, Chris’ presentation will focus on the use and persistence of embedded metadata in content digitized from analog audio sources. Chris’ article published in this summer’s International Association of Sound and Audiovisual Archives Journal discussing this topic and the ARSC-TC study gave an eye-opening look at how various audio processing and editing tools handle digital files and the implications they may have on the fidelity of archival materials in a digital preservation environment. Important stuff, this. Check out the article or come see us at the Convention.