Workshop program

Scroll down or click on the presentation titles to read the presenters' bios and abstracts.

9:00 - 10:00
Welcome and registration

10:00 - 10:30
Opening and greetings from the authorities

10:30 – 10:45
Introduction by the General Chair

10:45 – 11:00
Message from the Honorary Chair

11:00 – 12:00
Keynote lecture
Dietrich Schüller, UNESCO Memory of the World Programme
Audiovisual documents: between information carriers and objects of art

12:00 – 13:00
Demo session

13:00 – 15:00
Lunch break and guided tour of the Villa

15:00 – 16:30
Invited presentations
Chair: Federica Bressan
Alessandro Arbo: From the document to the work. Some ontological remarks
Bruno Jehle and Raveendra Eduri: The evolution of a profession: From mastering technology to competencies in economical, legal and social frameworks
Gianfranco Bilardi: Computational Paradigms and Audio Archives

16:30 – 17:00
Break

17:00 – 18:00
Round table

18:00
Conclusion and farewell




AUDIOVISUAL DOCUMENTS: BETWEEN INFORMATION CARRIERS AND OBJECTS OF ART

Keynote lecture by Dietrich Schüller

Abstract. Because of the limited life expectancy of carriers, and the limited availability of dedicated, unreproducible replay equipment, content migration is the widely undisputed concept for preserving audio and video documents in the long term. For audio, this principle has been codified in the standards IASA-TC 03 and IASA-TC 04. A standard for video, IASA-TC 06, is in the pipe line. IASA-TC 03 and TC 04 clearly state that the aim of signal retrieval is the extraction of the information found on the carrier: modern equipment will normally retrieve "better" signals than those perceived at the time with historical equipment. It is not the intention to challenge this principle for the vast majority of audio and video documents, but when it comes to video art, different principles must apply. This brings historical reproduction back into the scene, which for audio was already discussed by William D. Storm in the late 1970s. The present adoption of content migration for film preservation will intensify this debate, as historical screenings become popular as a holistic authentic presentation of historical film art.

Biography. Dietrich Schüller began his studies at the Technical University in Vienna with a major concentration in physics, later changing to ethnomusicology and cultural anthropology, and graduating 1970 from the University of Vienna with a Ph.D. on African history. While still in school in 1961, he was a student assistant to the Vienna Phonogrammarchiv of the Austrian Academy of Sciences and, following graduation, became its Director in 1972, and retired from that position in 2008. Before specializing in audiovisual preservation, he was actively involved in the technical and methodological aspects of sound recording for research purposes, particularly field recordings. He has done extensive field work Austria on musical life in rural areas as well as in Vienna. His overseas activities include joint tutorial field trips with colleagues from Burkina Faso (1975), St Lucia (1985) and China (1998 and 2001) in their respective countries. He was a member of the Executive Board of the International Association of Sound Archives (IASA) from 1975 to 1987, and Chairman of the IASA Technical Committee 1975-2001. Increasingly concentrating on audiovisual preservation, he became an early advocate for automated digital content migration around 1989/90. An author of numerous publications, he is also editor and co-author of several IASA Technical Committee Standards. A university lecturer on audiovisual preservation, he is also engaged abroad in training seminars, more recently in Mexico and SE-Asia. He has worked as a consultant to a number of audiovisual archives world-wide, partly on behalf of UNESCO, where he was the representative of Austria in the field of communication and information in various positions over the past 25 years. He is presently member of the International Advisory Committee for the Memory of the World Programme of UNESCO.


FROM THE DOCUMENT TO THE WORK. SOME ONTOLOGICAL REMARKS

Alessandro Arbo

Abstract. In addressing the issues related to the reconstruction or the preservation of musical works (phonographic or multimedia) it is worth developing an ontological analysis. A musical work depends on the inscription of an act, in particular on a kind of recording which today is often technological and digital. In a general sense it can be considered as a document, with a specific difference due to the fact that it manifests a kind of aesthetic functioning. Two basic types of recording are at play here: one that is limited to document a work (destined to one or more sensory channels); and one which constitutes it. We would like to show how this alternative between document and construction has a direct impact on how we preserve and restore the musical works.

Biography. Alessandro Arbo is maitre de conférences in the Department of Music of the University of Strasbourg and member of the "Groupe de recherches expérimentales sur l’acte musical" (GREAM). His researches focuse primarily on aesthetics and philosophy of music, disciplines to which he has devoted many studies, as Dialettica della musica. Saggio su Adorno (Milano 1991), Il suono instabile. Saggi sulla filosofia della musica nel Novecento (Torino 2000), La traccia del suono. Espressione e intervallo nell’estetica illuminista (Naples 2001), Archéologie de l’écoute. Essais d’esthétique musicale (Paris 2010), Entendre comme. Wittgenstein et l’esthétique musicale (Paris 2013). The ontology of music and the study of the performance are within its current interests. He also edited Perspectives de l’esthétique musicale : entre théorie et histoire (Paris 2007), Le corps électrique: voyage dans le son de Fausto Romitelli (Paris 2005), Wittgenstein and Aesthetics: Perspectives and Debates (with M. Le Du and S. Plaud, Frankfurt 2012), Ontologie musicale : perspectives et débats (with M. Ruta, Paris 2014), Anamorphoses. Etudes sur l’œuvre de Fausto Romitelli (Paris 2015). He is part of the editorial board of "Rivista di Estetica" and "International Review of the Aesthetics and Sociology of Music."
Alessandro Arbo has also devoted several works to the history of the musical cultures in Friuli-Venezia Giulia (as the biography of Italian composer Cesare Augusto Seghizzi, Pordenone 1992, I fondi musicali dell’Archivio storico provinciale di Gorizia, Gorizia 1994, and Musicisti di frontiera. Le attività musicali in Gorizia dal Medioevo al Novecento, Monfalcone 1997). His biography of the philosopher Carlo Michelstaedter (Pordenone 1996) obtained, in 1997, the selection award Giovanni Comisso".
Institutional page: http://unistra.academia.edu/AlessandroArbo



THE EVOLUTION OF A PROFESSION: FROM MASTERING TECHNOLOGY TO COMPETENCIES IN ECONOMICAL, LEGAL AND SOCIAL FRAMEWORKS

Bruno Jehle and Raveendra P. Eduri

Abstract. We sometimes may feel that our occupation should be more related to vocation or mission then just to be occupied in an employment. The desire for a sense-giving and identity-building professional life is still strong but nowadays in risk to be missed out in simply doing a job. A real professional suffers when he is forced by circumstances to make compromises on the quality of his work. Based on the example of a lithographer we show the change of a professional profile throughout the last decades and the chances given in this to put the quality back to the forefront. The expectation that professionalism should produce the highest quality is indeed still given. But the requirements to reach this aim have changed. In former times the major challenge was the mastery of tools and techniques. Whereas this became easier to some extend the requirement for social skills became more demanding today. Each task requests us to address the specific resources and infrastructure as well as the cultural and social environment. Using two case studies from India and Switzerland that could not be more different in terms of these conditions, we will show how such an approach is feasible in practice.

Biography. Bruno Jehle (1956), founder of bj institute, lives in Aarau, Switzerland and Hyderabad, India. Background: Photo lithographer, prepress, information specialist, internet service provider and software development in SaaS (Software as a Service). He has more than 30 years experience in building up service companies in Switzerland and development cooperation projects in south India. Bruno Jehle is chief expert for higher education on vocational training in the field of Mediamatics in Switzerland, and technical manager of the digitization project at the art museum of Basel.
Beside his economical activities, he is president of "Digitale Allmend", a society promoting and protecting digital commons in Switzerland, and he is an active member in Wikipedia.

Biography. Raveendra P. Eduri (1970), director of bj institute, lives in Hyderabad, India. His background is technical and social; he trains young professionals and manages the digitization project at the Archaeological Department in Hyderabad. His skills: training, human resource management, technical analysis & design, project management, business development and communication.
Raveens concentration areas are: Digitization and information management, vocational education & training (VET) and technical consulting. He is Board Member of the Rural India Self Development Trust, Rajahmundry, India and education council member at St. Ann's College of Education, Secunderabad, India.



COMPUTATIONAL PARADIGMS AND AUDIO ARCHIVES

Gianfranco Bilardi

Abstract. Computational paradigms have exercized significant influence on several disciplines, such as mathematics, physics, and linguistics. This talk explores the potential of such paradigms to contribute expanding the field of multimedia archives.
We consider the issues of modelling, faithful preservation, and robust permanent storage of documents. We speculate on how methods such as homomorphic computing could enable queries to documents without full access. We investigate avenues to add dimensions to the interaction with artwork as well as to the critical analysis of text.

Biography. Gianfranco Bilardi has earned a Laurea (University of Padova, 1978) and a Ph.D. (University of Illinois at Urbana-Champaign, 1985) in Electrical Engineering. From 1984 to 1990, he has been an Assistant Professor of Computer Science at Cornell Universiy and, from 1990, a Professor of Computer Engineer at the University of Padova. He has spent time as visiting professor/scientist at UC Berkeley and Irvine, Brown, MPI, UCI, UT Austin, and IBM Research. His research in theoretical computer science, parallel algorithms and architectures, high performance computing, VLSI, and signal processing is documented by nearly hundred publications in international journals and conferences. He has been the coordinating PI of several multi-unit European and Italian projects. Bilardi has served as PC and/or organizing chair of several international conferencs and on the editorial board of various publications, including Springer Verlag's Encyclopedia of Parallel Computing. He has served as Prorector of Computing and he is currently a member of the Administrative Council of the University of Padova.





DEMO SESSION
The Demo Session is a novelty of the this Workshop edition. Institutions and free-lance experts will show and explain their activity in archiving, preservation, restoration and multimedia production. [More will be revealed in the next weeks.]



International Association of Music Libraries, Archives and Documentation Centres (IAML)

Title. IAML. How music libraries, archives, documentation centres and museums face the challenge of the digital world / presented by IAML Italia
Description. The presentation will put in evidence the initiatives that IAML is pushing in the field of audiovisual resouces and, in general, digital music heritage.

Reference person: Federica Riva
Website: http://www.iaml.info/




Alessandro Bordina, PhD - video restoration expert

Title. Methodologies and practices of videotape restoration
Description. A substantial part of the analog audiovisual heritage is gradually becoming irrecuperable. One of the sectors most at risk is that of analog videos on magnetic media. This is mainly due to two factors: the high degree of obsolescence of this technology and the total not human readability of the encoding of these signals. I will present methodologies, decision making models and operational protocol developed during my research at the University of Udine, bringing concrete examples of digital restoration works conducted in the restoration lab La Camera.

Reference person: Alessandro Bordina




Conservatory of Music of Padua "C. Pollini"

Title. Beweare the Sound
Description. We will present two prototypes of sound-augmented interactive garments. Granting auditory aesthetic demands and following criteria of product design and processes, the prototypes can be improved for application in the functional scenarios for which the garment is conceived, as well as within music and theatre performances.

The prototypes make use of paper and cardboard as building materials. A single board computer, sensors and loudspeakers are embedded. The software is open source. These prototypes have been designed and made by Master students of the Conservatory together with PhD students of the Queen Mary University of London and free-lance artists as the output of a workshop on sonic interaction design held at the Conservatory of Padua in March 2016.

Reference person: Giorgio Klauer
Website: http://www.sampl-lab.org/




Cesare Marchesini - Soundfan.it

Title. Philological restoration of tape recorders
Description. Choosing the hardware to play tapes is a crucial step for the correct transfer of the analog signal to digital, but tape recorders have been discontinued for many years: most devices found on the market are normally 30 years old and need a complete check-up to work properly.
Restoring a tape recorder requires not only technical skill but a wide knowledge of the historical evolution of the magnetic recording technology. That's how Soundfan approaches its interventions: a years long experience, prestigious commissioners, fueled by a true passion for tape recorders. At the Workshop, Marchesini will give an insight on the "art of restoring tape recorders".

Reference person: Cesare Marchesini
Website: http://soundfan.it/





bj institute

Title. Memories on Glass: The Conservation of Glass Plate Negatives
Description. Glass plate negative the oldest or rather first capture medium in photography, the oldest of the glass plates are more than 100 years old. Most of the material is long forgotten and is either in the destruction phase or completely destroyed. We present you the case of a 100 year old archive which has saved invaluable memories on Glass Plates for the last 80 years untouched and unseen. We share our experience of Conservation, Restoration and Preservation of these Glass Plate Negatives.

Reference person: Raveendra Eduri
Website: www.bjinstitute.org







At the end of the Workshop, we can continue the discussion sipping a good Italian apertivo. Our research field is young and so is the night ;)




In collaboration with:




And with the patronage of:



Regione Veneto Provincia di Padova Città di Piazzola sul Brenta