This post comes to you from GBA owner, George Blood, remembering his friend and colleague Charlie Churchman. Charlie passed away this past Sunday, and he will be greatly missed.
Our summer intern, Elisabeth Graham, gives a retrospective on her time at George Blood. Best of luck, Elisabeth, and thank you for all of your hard work at the office!
Some of our staff members had the opportunity to meet with our peers at local archives, ReCAP and the Seeley G. Mudd Manuscript Library!
Working in an archive, things can get…messy. Learn more about different kinds of contaminants in archives here!
What does it mean for a preservationist to be faithful to the original? What are the qualities of the original we’re capturing in the digital surrogate? Find out more here on this George Blood Blog Post!
How do you pack a package properly? Find out here!
We are living in a digital world, we all know it and there is no escaping it. As archivists, we can either get on board with the digital revolution or resist it. But where’s the fun in that? Online archival work has existed since the dawn of the internet, and it is the job of some archivists out there to help create web-accessible platforms for archival materials. Through online archival projects, archivists and curators can push the boundaries of what it means to preserve cultural artifacts and how the public interacts with them. While this process can seem daunting, here are a few reasons why web-accessible archives are excellent for archivists.
1. STORAGE SPACE: Who Needs It?
When we create web-accessible archives, folks do not need to have tons of available physical space in order to have tons of access to information. Through online platforms like the National Archives’ digital exhibitions, people can interact with the information and formats available to cultural institutions without the fuss of finding the actual room for all the physical materials.
2. Reduce Wear and Tear on Archival Objects
Can you imagine if the thousands of folks who interact with online materials were actually using the physical object? One of the drawbacks of non-digital media is that every time you play it, there is wear and tear. When the public has access to digital, public domain copies of media, they can enjoy the media without destroying it.
3. More Contributions to Archival Projects
With projects like The Internet Archive, people from across the world can contribute to this online space. While other cultural institutions are limited by storage space, distance, and scope of projects, iArchive allows for a potentially endless stream of contributions, and thus more of human history can be saved to the archive.
4. Materials Will Not Be Lost to Time
In endeavors like The Great 78 Project, materials that may have been lost or forgotten to time have a second chance at surviving with the internet. Although the original 78 may not be a viable option for replaying or storage, the online accessible 78 can be played on countless times.
5. More People Get to See and Learn From Materials
Archives, special collections, and museums have traditionally been accessible only to academics, students, or folks with enough money to get in. Online archives and special collections make it possible for more people to learn from materials and databases without the limitations of time and money. When we make it possible for more folks to interact with materials, we create an opportunity for more folks to get educated.
What can we learn about digital video file types from IASA TC 06? Learn more here!
IASA TC 06 is a groundbreaking publication that establishes guidelines for video preservation. See what George Blood has to say here!
The Audio Engineering Society will have its International Conference this weekend! Learn more here.
What is a philosophy of preservation? How does it guide our best practices? Find out more here!
The Shipping Manager will be responsible for handling, packing, and receiving materials
to and from clients, some of which may be very fragile (ie, LPs, films, etc). They will
also be expected to maintain the current equipment inventory and transport original
media and equipment between facilities and from various clients along the east coast.
Learn more about how the CLASSICS Act may affect archival work and the public domain.
For the next few weeks our George Blood Summer Intern, Elisabeth Graham, will be posting twice a week on our blog! Welcome, Elisabeth!
Making the recordings available online “gives an opportunity for the collections from smaller communities to shine,” Pfotenhauer said. “Wisconsin has a lot of these great records outside of Madison or Milwaukee, and we can make some of them more visible.”
Dana Gerber-Margie was hired as a temporary staffer for the planning period. She traveled around Wisconsin to assess oral history archives in 22 facilities from Superior to Milwaukee, from Antigo to Richland Center...
For the summer of 2018, we will offer two six- to eight-week paid internships, one in audiovisual preservation and one in data rescue and recovery. During this period, the interns will gain an understanding of the processes of audiovisual and data preservation reformatting, and have the opportunity to contribute to a particular area of preservation work of their choosing. The internships will each result in a professional level project. Past interns have conducted preservation research and documentation, created shipping and storage guidelines, participated in conservation treatments of materials, and more.
I have no particular interest in sports. Never have. The closest this pointy-headed, bookie, piano & harpsichord player ever came to participating in an organized sport was playing saxophone in the marching band in high school. Nonetheless, sports is hard to avoid. About 14 years ago, while I was the engineer at The Philadelphia Orchestra...
So how does an archivist learn how to preserve audio and video materials, anyway? Some people (like me) attend a specialized graduate program; others pursue internships or learn on the job. The Public Broadcasting Preservation Fellowship (PBPF), a new IMLS-funded program from WGBH and the American Archive of Public Broadcasting (AAPB), is trying to combine a little of Column A with a little of Column B. Through the PBPF, the WGBH is collaborating with universities and public broadcasting stations around the country to provide semester-long graduate Fellowships for currently-enrolled students to get hands-on experience in audio and video preservation.
The first five Fellows begin their projects this week – but before getting thrown into the deep end...
Like most people, like most companies, the work we do has changed over the years. When we started preserving audio collections in 1990, copying to ¼” analog tape was the standard. Digital was still a new, uncertain thing. Audiovisual and data preservation is now the bulk of what we do. Prior to 1990 most of our work was in recording classical music on location – live concerts and CDs. I worked with The Philadelphia Orchestra for 21 year and have recorded over 4,000 live concerts, half with The Fabulous Philadelphians. Though our preservation business has grown more quickly, we still record a lot of classical music.