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Van proefondervindelijk naar gestuurd. Duurzaam preserveren bij het Nederlands Instituut voor Beeld en Geluid
Get PDFServer-side Preservation of Dynamic Websites
Get PDFThe aim of this report is to offer new insights into the possibilities for website preservation. Server-side preservation complements large-scale web crawling solutions with an in-depth conservation approach for individual online productions. The method relies on the belief that digital preservation needs to start with website creators at the pre-ingest stage before the umbilical cord connecting the website to its server-side environment is cut off. Websites are complex ecosystems, most of which lie hidden under the surface of a webpage. A server-side preservation approach aims to include individual components of that ecosystem and dependencies between them in order to preserve a fully functioning and contextualised dynamic website. Since there are few publicly available examples of this strategy, the Netherlands Institute for Sound and Vision has recently initiated research around the subject. This report is the result of a five-month internship exploring the topic. It provides advice for the institute on the server-side preservation of dynamic websites, highlights further steps to be taken and offers a reflection on the challenges that might be encountered along the way
Approaches to Spatial Analysis in a Local Cinema History Research
No full textIn a growing interest in spatial visualisation of historical data emphasized within the field of the new cinema history, identifying the methodologies, their benefits as well as obstacles, is crucial for the development of optimal approaches to the research of the past of the local film culture. The main goal of this paper is to introduce several possibilities of treatment of historical data in a geospatial context. On the case study on the local cinema history and culture in Brno, the Czech Republic, during the 1930s, this paper proposes methodologies of visualisation and analysis of historical data transferred to the spatial context, identifies the challenges of visualisation of ambiguous qualitative data and introduces the treatment of temporal dimension of data within geographical space. This paper aspires to become a contribution to growing field of spatial approaches to cinema history. It proposes several methodologies of how to visualize, analyse and understand historical data in spatial-temporal context
Gezien na 107 jaar: Tuschinski’s eerste Thalia
No full textArticle about the discovery of an old photo picturing Abraham Tuschinski's first cinema: Thalia
Researching Wikidata’s added value in accommodating audio-visual researchers’ information needs
Get PDFLinked Data is playing an increasingly significant role in the field of cultural heritage. This paper aims to find out how Linked Data techniques can add value for external researchers who collaborate at cultural heritage institutions and will take the form of a case study at the Netherlands Institute for Sound & Vision (NISV). NISV manages an audio-visual collection and is looking for ways to implement Linked Data principles on its collection. Specifically, NISV is looking at a general purpose knowledge base, Wikidata. This research is part of a broader project aiming to map the possibilities of Linked Data principles for internal and external audiences. This paper will focus on external audiences that collaborate at NISV and will describe these external researchers, including their information needs when it comes to accessing NISV’s audiovisual collection. To see what information it contains and how this existing information matches external researchers’ information needs, we analyse NISV’s General Thesaurus for Audio-visual Archives (GTAA). We also analyse the Person facet of Wikidata to compare both datasets and see which data is relevant to align with the GTAA, specifically for the needs of external researchers. Based on this, we propose an improvement to the Clariah Mediasuite as a mock-up prototype, which incorporates Wikidata as an additional functionality to serve as a method for performing exploratory research on external researchers’ subjects of interest. A qualitative evaluation of the mock-up prototype by external researchers shows that the proposed addition to the Clariah Mediasuite adds value for external researchers, as long as they are carrying out research in an exploratory manner. We discuss limitations of the proposed addition, including incomplete and corrupted data, overabundance of properties, technical limitations and future work
TrendMonitor Audiovisuele Collecties in Nederland 2018
Get PDFDe TrendMonitor Audiovisuele Collecties in Nederland 2018 geeft een overzicht van de actuele stand van zaken wat betreft AV-materiaal bij collectionerende instellingen. Het is het derde rapport in een reeks van periodiek uit te brengen onderzoeksrapportages die een overzicht bieden van ontwikkelingen op het gebied van beheer, behoud en beschikbaarstelling van analoge en digitale audiovisuele collecties in Nederland.
Dit onderzoek laat drie ontwikkelingen zien. Ten eerste wordt een toenemende aanwas van born digital AV-materiaal gerapporteerd. Ten tweede vordert de digitalisering bij instellingen met grote AV-collecties gestaag, maar hapert deze bij instellingen met kleinere collecties. Tot slot lijkt het percentage AV-materiaal dat beschikbaar kon worden gesteld niet of nauwelijks toe te nemen.
De uitkomsten van dit onderzoek zijn richtinggevend voor zowel de activiteiten van AVA_Net, het netwerk van audiovisuele collectiehouders in Nederland, als die van Beeld en Geluid zelf. Als landelijk knooppunt voor de AV- en mediasector binnen het Netwerk Digitaal Erfgoed levert Beeld en Geluid een actieve bijdrage aan de Nationale Strategie Digitaal Erfgoed, in het bijzonder de duurzaamheid en toegankelijkheid van media en audiovisuele content
Tales of a Tool Encounter: Exploring Video Annotation for Doing Media History
No full textThis article explores the affordances and functionalities of the Dutch CLARIAH research infrastructure – and the integrated video annotation tool – for doing media historical research with digitised audiovisual sources from television archives. The growing importance of digital research infrastructures, archives and tools, has enticed media historians to rethink their research practices more and more in terms of methodological transparency, tool criticism and reflection. Moreover, also questions related to the heuristics and hermeneutics of our scholarly work need to be reconsidered. The article hence sketches the role of digital research infrastructures for the humanities (in the Netherlands), and the use of video annotation in media studies and other research domains. By doing so, the authors reflect on their own specific engagements with the CLARIAH infrastructure and its tools, both as media historians and co-developers. This dual position greatly determines the possibilities and constraints for the various modes of digital scholarship relevant to media history. To exemplify this, two short case studies – based on a pilot project ‘Me and Myself. Tracing First Person in Documentary History in AV-Collections’ (M&M) – show how the authors deployed video annotation to segment interpretative units of interest, rather than opting for units of analysis common in statistical analysis. The deliberate choice to abandon formal modes of moving image annotation and analysis ensued from a delicate interplay between the desired interpretative research goals, and the integration of tool criticism and reflection in the research design. The authors found that due to the formal and stylistic complexity of documentaries, also alternative, hermeneutic research strategies ought to be supported by digital infrastructures and its tools
Computer Vision and the Digital Humanities: Adapting Image Processing Algorithms and Ground Truth through Active Learning
No full textAutomated computer vision methods and tools offer new ways of analysing audio-visual material in the realm of the Digital Humanities (DH). While there are some promising results where these tools can be applied, there are basic challenges, such as algorithmic bias and the lack of sufficient transparency, one needs to carefully use these tools in a productive and responsible way. When it comes to the socio-technical understanding of computer vision tools and methods, a major unit of sociological analysis, attentiveness, and access for configuration (for both computer vision scientists and DH scholars) is what computer science calls “ground truth”. What is specified in the ground truth is the template or rule to follow, e.g. what an object looks like. This article aims at providing scholars in the DH with knowledge about how automated tools for image analysis work and how they are constructed. Based on these insights, the paper introduces an approach called “active learning” that can help to configure these tools in ways that fit the specific requirements and research questions of the DH in a more adaptive and user-centered way. We argue that both objectives need to be addressed, as this is, by all means, necessary for a successful implementation of computer vision tools in the DH and related fields
Data-Based Art, Algorithmic Poetry: Geert Mul in Conversation with Eef Masson
No full textThe award-winning media artist Geert Mul (the Netherlands, 1965) has been making computer based artworks for over twenty-five years. A large portion of his oeuvre, and his more recent work in particular, relies heavily on existing images, often sourced online. With the help of image analysis software, Mul reworks the pictures into new combinations, attracted by the unexpected results that algorithmic operations produce, and the revelatory potential they hold. The artist refers to this work as ‘data-based art’ – a term revealing not only of his own process as a maker, but also of his take on how people today engage with the world around them and make sense of it. At the conclusion of a large-scale retrospective of his work, Eef Masson spoke with him about some of the key ingredients of his visual practice and the inextricable relations between them: information, databases and collections; randomness and rules; and crucially, makers and audiences or users. In the course of the conversation, Mul also reflected on how his work ties in with much older traditions of play, in artistic practice, with data and the rules for their recombination
A Culture of Competition: Sport’s Historical Contribution to Datafication1
No full textThis article considers the contribution of sports to the emergence of a contemporary big data culture. Why and how did media sports become so entangled with big data? How do media sports impact on the popularisation of big data as a cultural practice and as a cultural imaginary? In the first part of the article, I demonstrate how, as early as the nineteenth century, the standardisation and serialisation of sport competitions went hand in hand with a growing relevance of quantified evaluation of performances. Sports contributed to the modern ‘avalanche of numbers’ and thus became an important symbolic resource for the broader implementation of a data-based, ‘normalistic’ regulation of social practices. In the second part, I focus on the implementation of a public representation of actual big data practices in professional sports. Starting with a short overview of an initially slow-moving, but eventually comprehensive, appropriation of advanced statistical calculations and other big data practices since the 1970s, I analyse examples that illustrate the controversies around and the public legitimisation of metrics and data visualisation. My main claim is that sport, because of its historically long and close entanglement with numbers, both stimulates a naturalisation of datafied competition and fuels an ongoing debate about the quality and implications of different forms of metrics