Sound and Vision Publications
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Digital Preservation Sound and Vision: Policy, Standards and Procedures
No full textThe purpose of this document is to contribute to the development and promotion of the Netherlands Institute for Sound and Vision (Nederlands Instituut voor Beeld en Geluid) as a leading audio-visual archive that has identified sustainable digital preservation as its primary business. With that in mind, this document explicitly outlines all principles and choices that form the basis for execution of this business. The digital objects and their lifecycle are defined, services and guarantees are described in detail and a record is made of how Sound and Vision (Beeld en Geluid) complies with technical and staff quality requirements. By documenting the current policy and the standards employed, it is possible to account to all parties that entrust their digital collections to Sound and Vision, to the users of those collections, and to subsidy-awarding bodies. The document also offers the staff of Sound and Vision transparency and clarity on the rules and procedures that apply. This document is also available in Dutch and was updated with a new edition in 2019
Raamovereenkomst digitale archiveringsdienst
No full textThis template for a Digital Archiving Services Agreement between NISV and non broadcast data producers (i.c. dataproducers from outside of the public broadcast environment ) contains all arrangements and services to be mutually agreed on, as to the data formats and metadata items to be ingested, stored and preserved, to the (practical arrangements surrounding the) ingest workflow, the cataloguing of the materials, privacy measurs, copyrights and the access provisions for the data producers themselves and for third parties. Details and specified service actions (e.g. certain technical checks, metadata provisions and access conditions, based on the various preservation and storage service levels are laid down in the SLA, accompanying this contract
Changing gears: Fast-lane design for accelerated innovation in memory organisations
No full textAudiovisual archives are embracing the opportunities offered by digitisation for managing their work processes and offering new services to a wide array of user groups. Organisation strategy, working processes, and software development need to be able to support a culture where innovation can flourish. Some institutions are beginning to adopt the concept of "two-speed IT.” The core strategy aims to accommodate two tracks simultaneously: foundational but “slow,” and innovative but flexible and “fast." This paper outlines the rationale behind the two-speed IT strategy. It highlights a specific implementation at the Netherlands Institute for Sound and Vision, a large audiovisual archive and museum. Two-speed IT is enabling Sound and Vision to reach its business objectives
Korsakow Perspective(s): Rethinking Documentary Knowledge in Digital Multilinear Environments
No full textIn linear documentary land, we are trained to see stories everywhere we look. Digital media and its materially distinct characteristics encourage reflections on this particular schooling and the power relations it is embedded in. As a result, many artists, filmmakers and scholars advocate interactivity as presumably more ‘authentic’ organizing principle for representing realty. While linear storytelling still prevails as framework for a majority of these interactive works, the documentary apprenticeship observed at the non/fictionLab offers an example for exploring digital materiality beyond the narrative paradigm. Drawing on my ethnographic study of a small group of research-practitioners, this paper analyses media software as part of an emerging counterpractice that challenges story as primary organizing principle and facilitates further investigation of digital environments for the making of documentary
Monitoring Designated Communities: Wat we weten en willen weten over de gebruikersgroepen van Beeld en Geluid
Get PDFThis document gives an overview of the Designated Communities identified by the NISV in 2015. For both the internal and external users, it presents what knowledge is presently available at the Digital Archive and by what means it has been assembled, and presents a comprehensive overview of technical demands from the distinct user groups. As such, it serves as a baseline overview for continuous Designated Community polling and development as part of the NISV’s Preservation Watch mechanisms
Het Belgische tijdschrift Grafiek en de katholieke interpretatie van de modernistische typografie tijdens de jaren dertig en veertig
No full textGrafiek (1936–2000) was a Belgian graphic arts periodical published by KOLVO, the alumni union of the ‘Kunstdrukschool Sint-Lucas’ in Ghent. Focusing on the first 25 issues (1936–1948) this article is a first investigation of how the graphic style evolved at this school during the early period of the modern graphic design. Leading man of both the Kunstdrukschool and Grafiek was friar Jan Peeters, who tinkered a design method that served as a pedagogical instrument. His method was inspired (directly or indirectly) by the writings of modernist pioneers such as Jan Tschichold. For a Catholic designer in Belgium in the early twentieth century, shaping the new profession of the graphic designer that combined progressive (modernist) aesthetics with deep religious catholic incentives clearly was a struggle
Writing Beyond the Letter
No full textThe ability to write, hence to preserve and share arbitrary words and thoughts, was one of the most important breakthroughs in the history of mankind. It laid the technological basis for what we perceive today as culture, science and, in good part, economy. Nonetheless, writing can encompass much more than just words, and this is an integral, but often overlooked part of it. Until very recently, writing was necessarily bound to the physical medium on which it was written or into which it was inscribed. The physicality of the medium interacted with and often enhanced the purely textual message. These features, which go beyond the encoding of words, are the secondary characteristics of writing systems. They include, but are not limited to typography, and often serve, consciously or not, the transmission of additional messages beyond the purely textual content.If the study of writing itself is still largely in its infancy, this is even more true for the study of secondary characteristics, which is an integral part of grammatology. Beginning with a taxonomy of these secondary characteristics, this article looks in more detail at two non-typographical characteristics, namely ordering and punctuation. This short sketch of a cultural history of ordering and punctuation begins with the role of ordering in the initial invention of writing over its use across the millennia. It ends with the contemporary use of special punctuation marks to encode emotions
Television Format as Cultural Negotiation: Studying Format Appropriation through a Synthesizing Approach
No full textDespite the growing number of publications on television formats, specific theorisations regarding formats and format adaptation, in particular, are still rare. In this article, I introduce a synthesizing approach for studying format appropriation. Drawing on format study, media industry research and structuration theory, I suggest that television formats should be understood and studied as a process of cultural negotiation in which global influences and local elements amalgamate on various levels of television culture (i.e., production, text, and reception); every level includes several sites of symbolic or actual negotiation. These sites emerge in the duality of structure and human agency
'Volstrekt realistische situaties in computergames? Die hebben we thuis al' (Review)
No full textIn this critical overview four recent studies of computer games are discussed and compared. First, Steven L. Kent's The Ultimate History of Videogames (2001), which gives an insight into the daily practice of the video gaming industry and all that is linked to it. In Rusel DeMaria & Johnny L. Wilson's High Score! The Illustrated History of Electronic Games (2004) about 200 different games are discussed in detail. This is done in chronological order but with thematic excursions supplying a treasure of (visual) information, as a result of which it has become a reference book. The other two publications are clearly of a more scientific approach, and the video game is seen to be a cultural and societal object. In Trigger Happy. The Inner Life of Videogames (2002) Steven Poole analyses the various parts of the computer game (cinematic character, storyline, graphic aspects) in an effort to determine why some games are received better than others. Lastly, James Newman's Videogames (2004) is a thorough introduction to the world of video gaming. He describes the industry and how it has developed over the past few decades into one of large studios that employ specialists
