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El Instituto Nacional de Antropología e Historia, a través de la Coordinación Nacional de Conservación del Patrimonio Cultural (CNCPC) y la Escuela Nacional de Conservación, Restauración y Museografía (ENCRyM) con la Colaboración de Fundación JUMEX, les complace invitarlos al Simposio Internacional de Preservación Audiovisual y Digital: Archivos Contemporáneos.

INFORMACIÓN: Tel- 50223410     ext-413222           
email: sipadmexico@gmail.com

INSCRIPCIONES A LAS CONFERENCIAS Y A LOS TALLERES: 
CNCPC:
 Exconvento de Churubusco, Xicoténcatl y General Anaya s/n, San Diego Churubusco, Coyoacán
04120, México, D.F.

*Tu lugar se apartará solamente cuando realices tu inscripción oficial en la CNCPC.
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Wednesday, October 29 • 4:10pm - 5:40pm
Mesa 12. Memoria, Participación y Acceso

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1. Julia Noordegraaf (NL) 
"Participatory Archiving: A Dialogue with the Audience"  
Digitization provides unique opportunities for engaging audiences with audiovisual heritage. In digital form, films, broadcasting materials and media artworks potentially come within reach of everyone with a computer and internet connection. Discussing a number of recent examples in participatory archiving, this lecture focuses on the potential of involving ‘the crowd’ in various aspects of the archival process, as well as the conditions for its success. Users can be involved in processes of selection and acquisition, by both indicating preferences for certain types of content and adding their own. It raises the question of how this involvement of ‘amateur-curators’ matches with the expert knowledge of the professional? Besides, online communities could be involved in preserving complex, interactive media productions or niche productions that can otherwise not be preserved, such as software-based artworks or obscure film genres. There, the challenge is to balance the standards and ethics of professional conservation against the motivation and self-designed practices of amateurs. Finally, archives may collaborate with various user-groups in increasing the scope and effectiveness of reuse, from crowdsourcing projects for description to improve the metadata to involving potential users in the design and development of access platforms. A successful collaboration with ‘the crowd’ requires a shift in thinking: from guardians of expert knowledge archivists should see themselves as editors that manage information streams that extend beyond the walls of the institution into the open realm of the digital domain. This involves opening up the archive, trusting the crowd to be able to provide valuable knowledge, inviting in artists, filmmakers and other media producers that can provide new perspectives on your collections and a readiness to loose control over what users do with your collections – in short, a perspective on participation as dialogue. 

2. Johan Oomen (NL)
"THE MANY UNEXPECTED JOYS OF BEING "OUT THERE”: examples of user participation in the heritage domain"
The web is increasingly social. New platforms create openings for social, cultural, economic legal and political change.  This has an enormous impact on present day society.  On the web, users are active creators, creating and sharing for instance stories, photographs and videos.

The mass digitisation of analogue holdings creates the potential for GLAMs to become an integral part of the web. In the case of fragile media (such as magnetic tapes and chemical film) digitisation is a means to ensure long-term preservation of the information. Digitisation is also a precondition for creating new access routes to collections. Once published on the web, collections become an integral part of the so-called Giant Global Graph by adding metadata to information objects such as web pages and images to enable links, and creating the relationships that conceptually or semantically link the information objects to each other.

Through publication and linking online, attention can be brought to even the most obscure artefacts. One of the unique properties of archival collections is their richness in the breadth and variety of objects and topics they cover, and the quality of contextual data about them. The web provides the opportunity for this richness to surface and to satisfy needs not only based on popularity, but also based on ad hoc interests. In an online context where sharing is the norm, it becomes almost a necessity for memory organisations  to make their collections available online in order to retain and support community interest. In effect, GLAMs and their audiences are now also part of what Abraham Bernstein et al. call the ‘global brain’, the intelligent network formed by users, together with the information and communication technologies that connect them.  New services are being launched that explore opportunities this brings to organisations. One increasingly popular area is that of crowdsourcing. The crowdsourcing phenomenon can be defined as: ‘the act of a company or institution taking a function once performed by employees and outsourcing it to an undefined (and generally large) network of people in the form of an open call’.  One key attribute is that most crowdsourcing activities are small (micro-) tasks that can be carried out by large numbers of people. Crowdsourcing initiatives in the heritage domain today also aim to have long-lasting effects on the way institutions operate. For instance, users are being challenged to add tags to collections, help with transcribing historical texts, share contextual knowledge in collaborative wiki environments and so on. Crowdsourcing has a profound impact on the workflows of heritage institutions through identifying micro-tasks that can be outsourced to the crowd.  These activities can be carried out by end-users remotely and can reduce operational costs. New forms of usage of collections (beyond access) can also lead to a deeper level of involvement with the collections.  In this contribution, we look at two use cases of crowdsourcing in action: the Sound of the Netherlands and the Waisda? Video Labeling game.


3. Ponencia Magistral de Clausura: Jon Ippolito (USA)
"Unreliable Archivists"
This talk takes a step back from the debate over the authenticity of intent and material at the center of debates on preservation to examine communities that propagate cultural memes with a complete disregard for those norms. Remix may have recently exploded thanks to the Internet and easy access to digital editing tools, yet re-performance as a preservation strategy has a venerable pedigree in the songs, dances, and oral histories of indigenous cultures. What does this mean for archivists of the Internet age? 


Moderadores
avatar for Nadine Vera Bérenger

Nadine Vera Bérenger

Organizadora del SIPAD, Conservadora-restauradora
Realizó la licenciatura en Restauración de Bienes Muebles en la Escuela Nacional de Restauración, Conservación y Museografía « Manuel del Castillo Negrete » (ENCRyM) entre 1996 y 2001. Continuó su formación con una Especialización en Restauración y Conservación de Materiales Fotográficos en el Taller de Restauración y Conservación... Read More →
avatar for Jo Ana Morfin

Jo Ana Morfin

Organizadora del SIPAD, Conservadora de arte en medios variables
Jo Ana Morfin  holds a degree in Cultural Heritage Restoration from the Escuela Nacional de Conservación, Restauración y Museografía (ENCRyM) in Mexico City. In 2008 she obtained her Master’s degree in Curating from Sunderland University in U.K. Morfin studied her PhD at the department of Drama: Theatre, Film and Television in Bristol University. She is currently writing her PhD thesis on “Unstable Events... Read More →

Ponentes
avatar for Jon Ippolito

Jon Ippolito

University of Maine, New Media Department.
Jon Ippolito is an artist, writer and curator born in Berkeley, California in 1962 who turned to making art after failing as an astrophysicist. After applying for what he thought was a position as a museum guard, Jon was hired in the curatorial department of the Guggenheim, New York, where in 1993 he curated Virtual Reality: An Emerging Medium and subsequent exhibitions that explore the intersection of contemporary art and new media. In 2002... Read More →
avatar for Julia Noordegraaf

Julia Noordegraaf

Professor of Heritage and Digital Culture and Director of the Amsterdam Centre for Cultural Heritage and Identity (ACHI)., Faculty of Humanities, University of Amsterdam
Julia Noordegraaf is Professor of Heritage and Digital Culture and Director of the Amsterdam Centre for Cultural Heritage and Identity (ACHI) in the Faculty of Humanities, University of Amsterdam. Besides, she is the founding director of the Digital Heritage Lab, a new facility for (contract) research and training in Digital Humanities within the ACHI (developed in partnership with Picturae). Noordegraaf’s research focuses on the... Read More →
avatar for Johan Oomen

Johan Oomen

Head of the Research and Development department, Netherlands Institute for Sound and Vision
For over 13 years now, I’ve been working for the Netherlands Institute for Sound and Vision, one of Europe’s largest audiovisual archives. Currently, I’m heading the Research and Development department, which seeks to explore the use of innovative technology in the areas of multimedia annotation, interoperability and access. Prior to my employment at Sound and Vision, I worked at the British Universities Film and Video... Read More →


Wednesday October 29, 2014 4:10pm - 5:40pm
ENCRyM- AUDITORIO General Anaya 187 Col. San Diego Churubusco, Coyoacán. México, D.F.