Image and Research. 12 International Conference by Ajuntament de Girona

IMAGE AND RESEARCH

12 INTERNATIONAL CONFERENCE Girona. 20 - 23 November 2012

IMAGE AND RESEARCH 12 INTERNATIONAL CONFERENCE Once again, we present the proposal of contents that we developed for the 12th IMAGE AND RESEARCH Congress. The two-days meeting in Girona is for all of us a good opportunity to be in contact with colleagues with different backgrounds, but with a shared interest: the photographic and audiovisual documentation. The organization thank you for your loyalty and we hope to live up to your expectations.

Workshop

ANGĂ&#x2030;LICA SOLEIMAN She has a Degree in Advertising and Public Relations from the Complutense University of Madrid, and an Advanced Studies Diploma from the University of Barcelona. In 2004 she received a grant from the La Caixa Foundation and the International Council for Canadian Studies to take a Masterâ&#x20AC;&#x2122;s Degree in Photographic Preservation and Collections Management given by Ryerson University and George Eastman House (Toronto, Canada / Rochester, New York, USA). The programme included stays at the Museum of Contemporary Photography in Milan, Italy, and the National Gallery of Art in Washington DC, USA. Currently she is writing her doctoral thesis at the University of Navarra on managing photography collections in art museums, while also working as a collections consultant in the field of preservation and digitalization.

THE PREPARATION OF PHOTOGRAPHIC ORIGINALS FOR DIGITALIZATION The workshop aims to look at, among other things, the reasons that justify digitalization, and the most common specific problems encountered during photographic processes in archives and collections, while proposing valuation measures along with recommendations before and after the digitalization process. Finally, the participants will generate a typical file in which all the necessary data for the process can be found (metadata, software, firmware, etc.), bearing in mind other pioneering initiatives such as SEPIADES.

PAPERS

HOWARD BESSER He is founding Director of New York University’s Moving Image Archiving & Preservation masters degree program. Previously, Besser was a UCLA Professor of Library & Information Studies, where he taught and did research on multimedia, image databases, digital libraries, metadata standards, digital longevity, web design, information literacy, distance learning, intellectual property, and the social and cultural impact of new information technologies. He has also been in charge of information technology for two art museums. He has published more than 40 articles on various aspects of information studies, most of them focused on issues of still or moving images. And in 2009 he was named to the Library of Congress’ select list of “Pioneers of Digital Preservation”.

PREPARING THE NEXT GENERATION OF AUDIOVISUAL ARCHIVISTS: LESSONS FROM NEW YORK UNIVERSITY’S MOVING IMAGE ARCHIVING & PRESERVATION PROGRAM For ten years New York University’s Moving Image Archiving and Preservation program has been training students to manage and preserve collections of audiovisual material. This paper describes the program, looking particularly at how it trains people to manage in a rapidly-changing digital environment.

AUGUSTO PIERONI He teaches Photography History and Criticism at the University of Tuscia (Viterbo) and formerly at the University of Rome Sapienza. He also teaches Visual Arts and Portfolio Structuring at Scuola Romana di Fotografia and Officine Fotografiche (Rome). He is the author of: Photographic Arts of the 20th Century (2008); “Photography” in Italian Encyclopedia Treccani XXI Century (2007); Reading Photography – Observation and Analysis of Photographic Images (2nd enlarged edition 2006); Photography<Art<Thought (2002); Fototensioni – Art & Aesthetics in Photographic Researches at the End of Millennium (1999). Art critic and curator, he contributed for: Aperture (New York), HotShoe (London), Eyemazing (Amsterdam), Muse (Milan), Around Photography (Bologna), FotoCult (Roma).

ANALYSIS AND INTERPRETATION OF THE PHOTOGRAPHIC WORK AS FOUNDATIONS FOR ITS STUDY AND DOCUMENTATION Photographs cannot be examined from any unbiased perspective: interpretation is entailed by every use of photography, pointless ones included. Both historical and contemporary practices compel scholars to consider within the textual unity of the photographic work not only series and sequences, but also such diverse elements as matters, inscriptions, installations, networks etc. A four-areas analysis focussed on contexts, contents and forms - both in physical terms and in terms of style - provides a holistic method of interpreting photographs in a self-aware and flexible way.

Pau MaynĂŠs He is a conservator of cultural assets specialized in the conservation and restoration of photographs and printed images. Born in Barcelona, he studied Photography at the Institute of Photographic Studies of Catalonia (IEFC, Barcelona, 1986), and Art History at the Autonomous University of Barcelona (UAB, Bellaterra, 1994). In 1995 he moved to Paris, where he continued his studies, being awarded a Diploma in Museum Studies at the Louvre School (1996), and a Diploma in Restoring Heritage, specializing in photographs (National Heritage Institute, 1996-2000). He has been on research stays at the Metropolitan Museum of Art and George Eastman House. Since 2002 he has combined work as professional restorer in the private sector (COREBARNA, SL) with teaching in specialized centres, historical research and the publication of educational articles on photography and conserving cultural heritage.

REFLECTIONS ON THE HISTORY OF THE RESTORATION AND CONSERVATION OF PHOTOGRAPHS Over the last thirty years, the conservation of photographs has become one more specialized branch of the conservation of cultural assets. This evolution and consolidation has come about thanks to a world-wide awareness of the historic and aesthetic value of original photographs, their economic value and their fragility. This awareness began in the United States in the 1970s when, based around the Eastman Kodak Company and the George Eastman House International Museum of Photography and Film in Rochester, New York, a number of professionals created a group interested in the conservation of photographs taken with outdated techniques and research into their preservation. At the same time, and during the 1980s, France was going through a period of recognizing the heritage value of photography and photography collections were included in museums. Public bodies at the time created the necessary conditions, human resources and infrastructure for managing and conserving collections. In Catalonia, a country with a rich photographic legacy that is not exploited to the full, the discipline hardly exists and public bodies are not convinced of the importance of recognizing the heritage value of photography by providing collections of reference with the required resources in terms of facilities and specialized personnel. 9

CARLES MITJĂ&#x20AC; He was a professional photographer for more than fifteen years. His worked mainly consisted of book illustration, industrial photography, the reproduction of artwork and advertising. He has always taken a personal interest both urban and natural landscapes. A Photography Graduate from the Polytechnic University of Catalonia (UPC), since 1996 he has focussed exclusively on teaching, giving courses in Technology and Quality at the Image Processing and Multimedia Technology Centre (CITM) at the UPCâ&#x20AC;&#x2122;s Terrassa Campus. Since 2003, he has been the coordinator of the Image Quality Laboratory (IQL) at the CITM. IQL is an experimental and research laboratory that works on measuring quality and image processing. He has been a member of SPIE since 2010.

Technological infrastructure and procedures for digitising photographic archives The paper takes us through the various stages in the digitalization of original photographs with regard to choosing equipment, calibrating instruments, capturing and processing images, preparing archives for final applications and the usefulness of training in these various areas, as well as establishing work protocols.

ROUND TABLE

What is the Archives position in front of legal uncertainty of mere photographs?

Sr. Jordi Lluís Forgas Folch Judge

Sr. Pep Matas Lawyer

Sr. Lluís Salom The Sindicat de la Imatge UPIFC

Sr. Joan Boadas Directorate of The Centre for Image Research and Diffusion (CRDI)

Sr. David Iglésias Rapporteur of the on-line debat

Chair:

Elisenda Vidal Journalist

PRESENTATIONS

Archiving Media from the ‘Occupy’ Movement: Methods for Archives trying to manage large amounts of user-generated media The “Occupy” movement that emerged in the US in the Fall of 2011 grew rapidly by posting both text and audiovisual works on online sites that would likely disappear. This paper details the efforts of archivists to preserve Occupy’s audiovisual material, and serves as a lesson for any archive trying to preserve and manage large amounts of user-generated media.

RICHARD WRIGHT He was, until December 2011, the archive preservation specialist in the BBC Research and Development department in London. He has 20 years of experience of broadcast archive technology and digitisation, working with the one million hour BBC archive, and working in collaborative projects with other audiovisual collections across Europe. He is a signal processing engineer with a PhD from the University of Southampton, and has been working on digital audio and video for more than 40 years. He was the BBC project manager on EC project PrestoPRIME (digital preservation), and before that on PrestoSpace and Presto, which were both about audiovisual digitisation â&#x20AC;&#x201C; and about the preservation factory approach to efficiency. He developed the Preservation Guide a â&#x20AC;&#x153;Google Number 1â&#x20AC;? covering audiovisual preservation.

PrestoPrime: Digital preservation of audiovisual materials Sound and moving image content is a record of the events of the 20th Century, the first century to have a record that lets us see and hear the past. The audiovisual industries of cinema, broadcasting and commercial music are major parts of popular culture and of all of our lives. Many millions of hours of this content has been archived, and many more millions have been lost. These archives have never had wide access, and now all their content must be digitised to survive or to become accessible. This talk will describe European activity to preserve and open up this important heritage.

NATHALIE DOURY She is the General Manager of Parisienne de Photographie, the company in charge of digitization and management of reproduction rights of the City of Paris’ photographic and iconographic collections. Nathalie Doury holds a Bachelor ‘s degree in Business Administration from ESSEC business school and specialized in management of cultural organisations at the University Paris-Dauphine. Following a 10-year experience in the cinema exhibition and distribution business, she joined Parisienne de Photographie upon its creation in 2005 to establish the structure, negotiate contractual relationship with the City & set up operational processes.

DIGITIZATION OF CULTURAL HERITAGE: (DESPERATELY) LOOKING FOR A VIABLE BUSINESS MODEL. PARISIENNE DE PHOTOGRAPHIE, A CASE STUDY Digitizing cultural holdings and making them available to a wide public in a context of, at best, stable and more realistically, diminishing, public resources is one of the many challenges faced by cultural institutions in the early 21st Century. The paper will focus on the unique business model developed by Parisienne de Photographie, a French local semi-public company (“Société d’Economie Mixte”) set up and controlled by the City of Paris to reproduce the photographic and iconographic collections held in the City’s museums and libraries, among which Musée Carnavalet, Petit Palais , Paris Museum of Modern Art, Paris Historical Library, Victor Hugo’s House, etc. The collections also include the Roger-Viollet photographic archive, which had been bequeathed to the City of Paris in the mid 80’s.

SUE MALDEN She is Media Archive Consultant and chair of the Federation of Commercial Audio Visual Archives (FOCAL International) a leading body in the audiovisual archive business and also works for FIAT/ IFTA as director of conference content. Sue is also secretary of the BECTU History Project and a member of the Royal Television Societyâ&#x20AC;&#x2122;s History group. Formerly Head of the BBCâ&#x20AC;&#x2122;s Broadcast Archives, Sue currently works as an independent media archive consultant. Sue has a wide range of archive work experience: information management, acquisition, technical preservation, selection policies and processes. She is also an experienced programme research in the BBC Current Affairs and Documentaries production departments.

THE ROLE OF FOCAL INTERNATIONAL IN SUPPORTING AUDIOVISUAL ARCHIVES TO MEET THE COMMERCIAL BUSINESS CHALLENGES A presentation about the activities of FOCAL International (The Federation of Commercial Audiovisual Archives) and the commercial aspects of the audiovisual archive business. FOCAL is an international organization that represents over 150 audiovisual libraries/archives throughout the world. We offer a support service to archives with regard to commercial issues, copyright, preservation and training requirements. Recent proposals in IPR protection are likely to have a considerable effect on the commercial use of audiovisual archives and therefore future developments in this sector which will be included in the presentation.

Presentations of papers a

La dona eivissenca. Una visió d’avantguarda Catalina Aguiló, Maria José Mulet Universitat de les Illes Balears L’avaluació i tria de fons fotogràfics digitals. Estudi de cas del fons del fotògraf Efren Montoya a l’Arxiu Històric de Sabadell Patricia Álvarez Martínez, David González Ruiz, Isabel Pardo Navarro Arxiu Històric de Sabadell Un aporte a la etnografía visual. Procesamiento parcial del archivo Jehan Vellard María Ana Baldani Cámara Universidad Austral, Argentina. Facultad de Comunicación Baldomer Gili Roig i la fotografia Oriol Bosch Bausà Museu d’Art Jaume Morera La obra fotográfica de José Spreafico Juan Antonio Fernández Rivero Colección Fernández Rivero (CFR) La memoria del trabajo en el Río Grande del Sur (Brasil) por la fotografía Francisca Ferreira Michelon Universidad Federal de Pelotas, Brasil La degradació dels suports plàstics anteriors a 1950 als arxius fotogràfics. Un estudi de camp a Catalunya que ofereix dades per a establir polítiques de preservació Laia Foix Navarro Institut d’Estudis Fotogràfics de Catalunya Anem a cal fotògraf María de los Santos García Felguera, Núria F. Rius Universitat Pompeu Fabra, Departament d’Humanitats Sauver le patrimoine vidéo de la ville de Genève: entre action, pragmatisme et doute Didier Grange Archives de la Ville de Genève

Huellas de luz. Experiencia y reflexiones metodológicas sobre documentación y puesta en acceso Andrew Green, Lourdes Roca Instituto Mora – México Prevenir la amnesia colectiva: el acceso público a los archivos de televisión Paloma Hidalgo Goyanes Universidad Complutense de Madrid – Facultad de Ciencias de la Información La definició d’un mapa d’informació conceptual per a la gestió de l’arxiu digital David Iglésias Franch Centre de Recerca i Difusió de la Imatge Aplicación del software IcaAtom para la descripción y publicación web del archivo fotográfico del Centro de Tecnología de la Imagen (CTI) de la Universidad de Málaga (UMA) Mercedes Jiménez Bolívar, Javier Ramírez González, José Manuel Ramos Guaz Centro de Tecnología de la Imagen (CTI) de la Universidad de Málaga (UMA) Els fons fotogràfics de la Biblioteca de Catalunya Ricard Marco Biblioteca de Catalunya La confianza visual: los archivos decimonónicos como patrimonios nacionales Zenaida Osorio Universitat Autònoma de Barcelona El procedimiento a dos tintas o de doble fondo de los Hermanos Crozat (1862): una de las principales aportaciones españolas a las técnicas fotográficas del siglo XIX M. José Rodríguez Molina, José Ramón Sanchís Alfonso Arxiu General i Fotogràfic de la Diputació de València, Arxiu Municipal de Torrent Las fotografías “comprometidas” de Luis Escobar. Su rescate y valoración Benjamín Tébar Toboso Centro de Estudios de Castilla – La Mancha, Universidad de Castilla – La Mancha

Presentations on the Tribune of Experiences Forum a

La encrucijada de la conservación y la difusión: la gestión de la digitalización M. José Badenas Población, José Luis Arcas, Fernando Ransanz, Alicia Pérez Martín Ministerio de Educación, Cultura y Deporte. Dirección General de Bellas Artes y Bienes Culturales y de Archivos y Bibliotecas dFoto. Directorio de colecciones de fotografía en España Josep Benlloch Serrano, Miguel García Cárceles Universitat Politècnica de València EUscreen, aparador del patrimoni audiovisual de la televisió a Europa Alícia Conesa Santamaria Televisió de Catalunya L’Arxiu Fotogràfic del Museu Marítim de Barcelona. Com gestionar la fotografia de mar Sílvia Dahl Termens Museu Marítim de Barcelona Recursos per documentar fons fotogràfics Cristina Feixas, Fina Navarrete Centre de Recerca i Difusió de la Imatge Gestión archivística de fondos fotográficos Miguel García Cárceles Creació d’un àlbum virtual de fotografies del fons Francesc Casañas Riera David González Ruiz Arxiu Històric de Sabadell La festa del peix a Banyoles el 1910, una recerca documental i fotogràfica Georgina Gratacós Teixidor Museu Darder – Espai d’interpretació de l’Estany Josep Salvany. Vint anys compartint les seves fotografies Ricard Marco Biblioteca de Catalunya

Presentació de Fotoconnexió Ricard Marco Fotoconnexió Full de ruta d’una guia. Les fotografies de l’Arxiu fotogràfic del Centre Excursionista de Catalunya Susanna Muriel Ortiz Centre Excursionista de Catalunya La sèrie documental “Fotografies” Núria Roca, Jordina Sabata TV3, Televisió de Catalunya Los fotógrafos de España en los anuarios y guías comerciales (1851-1936) M. José Rodríguez Molina, José Ramón Sanchís Alfonso Arxiu General i Fotogràfic de la Diputació de València, Arxiu Municipal de Torrent Barcelona visual: un producte de l’Arxiu Fotogràfic de Barcelona per a dispositius mòbils Jordi Serchs, Montserrat Ruiz Arxiu Fotogràfic de Barcelona Los Legados de la Tierra, programa de recuperación del patrimonio fotográfico en Castilla – La Mancha Benjamín Tébar Toboso Centro de Estudios de Castilla – La Mancha. UCLM

Participation guidelines

REGISTRATION - FEES

Conference Secretariat

Deadline

Documentary Management, Archives and Publications Service Centre for Image Research and Diffusion (CRDI) Placeta Institut Vell, 1 17004 Girona Tel. +34 972 22 15 45 - Fax +34 972 20 26 94 e-mail: crdi@ajgirona.org

26 October 2012. Registration for the Workshop is independent of registration for the Conference. Due to the limited number of places, people interested in participating in the Workshop will require prior confirmation of admission by telephone from the Conference Secretariat in order to register for this event.

Conference · General registration

220 €

· Members of AAC, AMC, Sindicat de la Imatge UPIFC, CIA/ICA and Spanish associations of archivists

195 €

· Students at ESAGED and IEFC

170 €

Remarks Simultaneous interpretation service. The Workshop sessions (20 and 21 November) will be held at the Centre for Image Research and Diffusion -CRDI (Placeta Institut Vell, 1). The Conference sessions (22 and 23 November) will be held at the Girona Conference Centre (Passeig de la Devesa, 35). You can register for these events at our website: http://www.girona.cat/sgdap/cat/jornades_presentacio.php

All registrations for the Conference include 2 lunches and 2 coffe breaks.

Workshop · General registration

180 €

· Members of AAC, AMC, Sindicat de la Imatge UPIFC, CIA/ICA and Spanish associations of archivists

155 €

All registrations for the Workshop include 1 lunch and 1 coffee break.

PAYMENT Reduced Fees To qualify for reduced fees, student status or membership in the aforementioned professional associations must be proven.

Deadline 26 October 2012 Bank transfer in favour of Ajuntament de Girona (Girona City Council): SWIFT: BBVAESMMXXX IBAN: ES 15 0182 5595 42 0201503131

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