From analogue media to the digital preservation of image and sound materials: the challenges of a 21st century audiovisual preservation specialist.

27 July. Following an  introductory module on the history, significance, and management of photographic, audio and visual material, the SOIMA course changed venue from Riga, Latvia, to Vilnius, Lithuania, a cultural metropolitan melting pot at the  geographical heart of Europe.

Within the institutional context of the Lithuanian Central State Archives in Vilnius, the 19 participants and the course team were warmly welcomed by the local partners of the course. During this second week, the course programme focused on the preservation planning and digitization of such collections, and the theoretical background of the first week was set into practice.

Since the 19th and especially during the 20th century, sounds and images have become part of the world's cultural heritage. Although the world’s memory is largely defined through the content of different audiovisual collections, this specific kind of heritage is at risk of being lost. While these collections originally consisted of analogue media, today's digital era presents us with new kinds of materials, but also with new challenges.  While decay, physical damage, and obsolescence are the main problems for analogue media such as photos, films, sound carriers and videos, digital materials ask for a new way of thinking. The huge amount of newly-produced digital media cannot simply be saved by putting these sounds and images on a shelf and arranging the best climate conditions. In the 21st century it becomes clear that the traditional methodology in conservation and archiving does not meet the specific needs of digital audiovisual media.

Although digitization has become one of the core responsibilities of audiovisual archives, it is more than just putting photos and films through a scanner. This new development in image and sound creation is in need of its own policies, action plans, and budgets.  Now that our world is becoming increasingly digital and globalized, the key message in preserving audiovisual materials is access through good collection management and metadata.

So what does it mean to be an audiovisual preservation specialist today? After a whole week of lectures, practical group sessions, and a discussion panel, participants came to the conclusion that the amount of work and challenges that we face is massive. The collections in our care are in danger and the sound and image preservation field has limited resources. Not only are the materials and content in our care in need of validation, so is our profession.

Thanks to ICCROM courses such as SOIMA, audiovisual preservation specialists not only have the opportunity to learn new skills, but also to network and exchange knowledge that will help us face the analogue and digital challenges of the 21st century.  Despite the fragile and impermanent nature of audiovisual heritage, specialists make sure that images and sounds from the past and the present remain accessible for future generations.

Christine Gleisner and Hilke Arijs
SOIMA 2011 participants

updated on: 1 August, 2011