Archiving and disseminating sound archives – 4. Valorising digital sound archives

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Alexandre Agergel, Radio France [email protected] Véronique Ginouvès, MMSH [email protected] Archiving and disseminating sound archives – 4: Valorising digital sound archives

description

Heritage Archives of Tanzania: http://phonotheque.hypotheses.org/13257

Transcript of Archiving and disseminating sound archives – 4. Valorising digital sound archives

Page 1: Archiving and disseminating sound archives – 4. Valorising digital sound archives

Alexandre Agergel, Radio France [email protected]

Véronique Ginouvès, MMSH [email protected]

Archiving and disseminating

sound archives – 4: Valorising digital sound archives

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Our program

1.  Processes and procedures in digitizing sound materials

2.  Managing sound data 3.  Analysis and treatment of sound data

4.  Valorising digital sound archives

5.  Collecting sound data for digital storage and dissemination

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How disseminate the sound archives recorded on the field ?

How to disseminate the sound archives recorded in the field?

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DO YOU REMEMBER ?!

-  Organize your collections -  Prioritize your digitizing campaign -  Inventory the content and not the media -  Organize your folders on the computer and on

the digital storage -  Clean the tape heads before digitizing -  Open Audacity, name the files and go ahead! -  Copy the file in the different storage -  Catalogue the file : use the good metadata

And… What are the 6 values not to forget ? Ethics rules; Collection integrity; Contextualization; Rights of present users as well as of future users; Rational use of available tools; Standards and catalogs.

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4. Valorising digital sound archives

1. Gain the technical skills needed to prepare for digital diffusion

2. Explore and discuss the ethical, legal, and contractual aspects of digital sound diffusion

3. Master the technical and digital means by which sound files must be stored and accessed

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To disseminate, use referentials : langages

ISO639 is a set of standards by the International Organization for Standardization that is concerned with representation of names for language and language groups. http://en.wikipedia.org/wiki/ISO_639 ISO 639-3 extends the ISO 639-2 alpha-3 codes with an aim to cover all known natural languages. It provides an enumeration of languages as complete as possible, including living and extinct, ancient and constructed, major and minor, written and unwritten. http://en.wikipedia.org/wiki/ISO_639-3

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To disseminate, use referentials : langages > Z3905

http://www.loc.gov/z3950/agency/language-codes.html Three Character Bibliographic Code (ISO 639-2/B) / Language (exemples): swq / swahili … aas / aasáx bds/ urunge eng / english hay / haya mwy / mosiro vun / vunjo zin / zinza

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Exemple of a langage description

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To disseminaten you have to prioritize, use referentials : langages > ethnologue.com

http://www.ethnologue.com/country/TZ List: http://www.ethnologue.com/country/TZ/languages

The number of individual languages listed for Tanzania is 129. Of these, 126 are living and 3 are extinct. Of the living languages, 2 are institutional, 18 are developing, 58 are vigorous, 40 are in trouble, and 8 are dying.

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To disseminate, use referentials :

date > W3C1998/NOTE-datetime-19980827

http://www.w3.org/TR/NOTE-datetime

Year: YYYY (eg 1997) Year and month: YYYY-MM (eg 1997-07) Complete date: YYYY-MM-DD (eg 1997-07-16)

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To disseminate, use referentials :

Geoname for the geographic names

http://www.geonames.org

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To disseminate, use referentials :

Library of Congress authorities subjects

Exemple : Afrobeat http://id.loc.gov/authorities/subjects/sh99011295.html

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To disseminate, use referentials :

VIAF The Virtual International

Authority File

http://viaf.org

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To disseminate, you have to clarify legal and ethical issues

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Who owns this interview recorded on the field?

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Respect the property right Who owns the sound archives?

Those who financed the production? The investigators who created the project? Technicians who have recorded the archive? The informants? Those who are cited in the interviews? The companies where the documents were created? The institution where the sound is archived?

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Respect the property right Who are the actors?

The investigator

The informant (witness, interviewed, performer, musician ...)

The beneficiaries

The holders of related rights (sound engineer accompanying the investigator or witness ...)

Composer, arranger, lyricist of the work performed in the recording

The individuals mentionned in the registration

The institution which has set the record

The institution where the sound is archived

The depositary

The librarian who has catalogued the record.

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Public Domain Manifesto

“Public domain is the rule, copyright is the exception”

All cultural works are in the public

domain, except for the limited time period when they are protected by Intellectual Property Rights. http://www.publicdomainmanifesto.org

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Word to know

Copyright Related rights

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Creatives commons licences

6 Licences http://creativecommons.org/choose

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Any questions ?

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PHOTO CREDITS

Slide 1: Sound archives Marceau Gast, MMSH, photogr. Laure Principaud, janvier 2010. Slide1: Digitizing sound, MMSH, photogr. Serge Mercier, 2012. Slides1 and more : July 12, 1967 in northwest Burundi, Sekere, Emile Mworoha and Jean-Pierre Chrétien. Last slide: Fe Ilya, Sounds, 2009 (CC BY-SA 2.0) https://www.flickr.com/photos/renneville/3358544222