{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/bz6154f49r/manifest","type":"Manifest","label":{"en":["Saving Radio History: Challenges and Opportunities in Radio Preservation"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Ernesto Aguilar (Presenter)","Brandon Burke (Presenter)","Karen Cariani (Presenter)","Casey Davis Kaufman (Presenter)","Allison Schein (Presenter)","Shawn VanCour (Presenter)","Chuck Howell (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThis panel presents work on radio preservation by partner institutions of the Library of Congress’s Radio Preservation Task Force. Created by the National Recording Preservation Board in 2014, the RPTF facilitates preservation, access, and educational implementation efforts of more than 350 archives and preservation groups throughout the United States. Focusing on challenges and strategies pursued by archives and broadcasting groups devoted to nontheatrical, community, and educational programming, this panel features discussants from four RPTF member institutions. Karen Cariani and Casey Davis Kaufman, Project Director and Manager for the American Archive of Public Broadcasting, will address their group’s efforts to digitize content from over 100 public broadcasting stations throughout the country and their IMLS-funded project to improve online accessibility of collection materials. Brandon Burke, Recorded Sound Archivist for the Hoover Institution Archives at Stanford University, will discuss his organization’s efforts to preserve unique recordings of Radio Free Europe/Radio Liberty programming as part of a new RPTF project on Cold War history and memory. Allison Schein, Archivist at the Studs Terkel Radio Archive, will discuss her institution’s preservation and public outreach strategies, including work for a new NEH grant to provide cultural programming to underserved groups. Rounding off the panel, Ernesto Aguilar, Membership Program Director for the National Federation of Community Broadcasters, will address special challenges his members face in preserving their content and discuss NFCB advocacy work to aid them in their efforts. Shawn VanCour, RPTF Development Director, will offer a brief introduction to the task force and chair the panel.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eThis panel presents work on radio preservation by partner institutions of the Library of Congress\u0026rsquo;s Radio Preservation Task Force. Created by the National Recording Preservation Board in 2014, the RPTF facilitates preservation, access, and educational implementation efforts of more than 350 archives and preservation groups throughout the United States. Focusing on challenges and strategies pursued by archives and broadcasting groups devoted to nontheatrical, community, and educational programming, this panel features discussants from four RPTF member institutions. Karen Cariani and Casey Davis Kaufman, Project Director and Manager for the American Archive of Public Broadcasting, will address their group\u0026rsquo;s efforts to digitize content from over 100 public broadcasting stations throughout the country and their IMLS-funded project to improve online accessibility of collection materials. Brandon Burke, Recorded Sound Archivist for the Hoover Institution Archives at Stanford University, will discuss his organization\u0026rsquo;s efforts to preserve unique recordings of Radio Free Europe/Radio Liberty programming as part of a new RPTF project on Cold War history and memory. Allison Schein, Archivist at the Studs Terkel Radio Archive, will discuss her institution\u0026rsquo;s preservation and public outreach strategies, including work for a new NEH grant to provide cultural programming to underserved groups. Rounding off the panel, Ernesto Aguilar, Membership Program Director for the National Federation of Community Broadcasters, will address special challenges his members face in preserving their content and discuss NFCB advocacy work to aid them in their efforts. Shawn VanCour, RPTF Development Director, will offer a brief introduction to the task force and chair the panel.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/491/small/ARSC_conf_2017_Aguilar_Burke_Cariani_video_thmb.jpg?1675890725","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-ufj962.mp4"]},"duration":2590.05867,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/491/small/ARSC_conf_2017_Aguilar_Burke_Cariani_video_thmb.jpg?1675890725","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/491/original/open-uri20200922-6764-ufj962.mp4?1600801117","type":"Video","format":"video/mp4","duration":2590.05867,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Saving Radio History: Challenges and Opportunities in Radio Preservation [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Without further ado over setting up here, I'm just going to introduce our next panel. So this is saving radio history, challenges and opportunities in radio preservation. And this panel is presenting work on Radio PREECE Preservation by partner institutions of the Library of Congress is Radio Preservation Task Force, which was created by the National Recording Preservation Board. In 2014, the R PTM facilitates preservation, access and educational implementation efforts of more than 350 archives and preservation groups throughout the U.S.. It's focusing on the challenges and strategies that are pursued by archives and broadcasting groups devoted to non three ACT non theatrical community and educational radio. And this panel will feature discussants from for our T.F. Member Institutions. Our panel chair is the RPF development director, Sean Bancor, who will give a brief introduction to the task force and keep things moving within this this panel with a panel. And we'll first hear from our Nesto Aguilar, the membership program director for the National Federation of Community Broadcasters. He'll talk about the challenges him, his members face in preserving their content tent and discussing and FCP advocacy work to aid in their efforts, followed by Allison Shine, who is the archivist at the Studs Terkel Public Radio Archive. Excuse me, just radio archive. And she'll discuss her institution's preservation and public outreach strategies, including their work on a new NIH grant to provide cultural programing to underserved groups. And then we'll hear from Karen Mariani, who is the project director of the American Archive of Public Broadcasting. And she'll address that group's effort, digitized content from over 100 public broadcasting stations throughout the country and their new MLS funded project to improve online accessibility to the end products of their efforts. And finally, Brandon Burke, who is the recorded sound archivist or the Hoover Institution archives at Stanford.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=11.89,151.45"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he'll discuss his organization's efforts to preserve unique recording of Radio Free Europe and Radio Liberty programing as part of a new RPF project on Cold War history and memory. And without further ado, I'll turn it over to Shawn. Can anyone hear me OK? Great answer. This part of today's session really focuses on the activities of the Radio Preservation Task Force and does highlight preservation work by some of our partner institutions. Before we hear from them, I just want to give you a quick overview of our organization and offer an update on our recent activities. Many of you have heard from our national director, Josh Shepherd, in past years, and we're thrilled to be able to participate again in this year's conference. If you're not familiar with it, the task force was created in 2014 by the Library of Congress, National Recording Preservation Board, with a fivefold mission, first to facilitate collaboration between faculty and archivists. The idea being that both groups are invested in radio preserving radio history and can accomplish a lot more together than they can alone. Second, to develop a national online inventory of excellent collections. And we've received some great help from ask with this so far. Third, to identify and save endangered collections. And here's an area where we'd like to work more closely with Ask to help identify relevant collections and pursue more systematic preservation efforts. Educational implementation is big for us, helping to integrate radio materials into the classroom to enrich public knowledge of our nation's media heritage. And finally, creating theme caucuses, which will say more about a second to facilitate research and expand available information on historically significant collections. And this is another area where our members can get more involved. We currently have 31 partner institutions.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=152.44,261.279"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So you see them there. That includes the people up here and some other numbers we have. If you see the Folklife Center and also NPR, which is got a wonderful NDH grant observe over a decade's worth of their programing. So our members are our partners are getting things done and we'd love to see them succeed. Our network, as Chuck mentioned, we're now almost 400 members and we've seen growing numbers of local archives, private collectors and broadcasting organizations. We hope to add more institutions and some of those areas where representation is currently a little lower. So if you have historically significant radio recordings and you're not a member, we want you in our network and we want information about your collections. From fall of 2014 to fall 2015, we assembled our initial network. Then we had a first conference in February of 2016. Transcripts and recordings of a lot of those sessions are available through the NRP site. If you want to listen to them, we're following that up with the second conference in November and we'll have more details on that shortly. And thanks to the cooperation of our risk and the wonderful work of volume and injuries. We've launched a beta version of our national database and begun populating that with some collection data. This database is a priority for us. And we ask only members to upload collection level data. That's just collection level data at this point using our easy online form. When you go to this page, you can just click on that and you can contact one of our network directors. You see their names there over on the right to join and then just take a couple of minutes to upload your collection information. I mentioned the caucuses. We currently have 12 of those are themed and they include a mix of historians and archivists who have specialized knowledge of and archival holdings in each of those areas.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=261.91,366.97"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the job of these caucuses is to help us identify materials of historical significance and generate projects that can facilitate preservation of and access to these materials for research and educational purposes. And some people in the room are already involved with some of these caucuses. If not, and you have relevant collections and expertize. I encourage you to get in touch with the caucus chairs and we particularly would like to use these caucuses to identify and facilitate work on endangered collections and on split collections that span multiple institutions. And finally, we've launched two special projects like our caucuses include a mix of historians and archivists. Karen and Alyson's organizations are part of the public media project, as is NPR and Brenden's institutions playing an organizing role in the Cold War communication project. And these groups are going to work to promote preservation, scholarship and pedagogical activities in their respective areas. So, again, we're thrilled to be able to participate in Ask again this year and share some of the work of our partner institutions. And we're hoping we can count on our continued support to, on the one hand, share information about your collection through our national database, work with our caucuses to help us identify historically significant and endangered collections at your institutions and facilitate preservation of the split collections and the combined knowledge, technical expertize and collection holdings, as well as the collective digitization capacity of the people in Ordon. Organizations in this room really is pretty formidable. And so we look forward to continuing to assist our skin. Your efforts as the nation's preeminent organization of recorded sound collections to help preserve and expand educational access to our. Radio history, and so we'll now hear from some of our RPN T.F. partner institutions on their own preservation and access efforts.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=367.46,478.81"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That was Ernest. Thank you very, very much. Thank you, everybody, for being here today. It's really fantastic to be a part of this learning experience. I'm a radio person and have gotten a chance to get a bit more immersed in this through so many conversations that I've got a chance to witness here. And a we as an organization are looking to help guide radio stations into doing one of several things that we'll get into here. Primarily there to her two things. One, the preservation of live radio programs, whether those were live performances or civic recordings, as well as the preservation of rare music libraries, which many stations have had for going on 50, 60, 70 years. And they're not really sure what to do with them. But a little bit about what we do with the National Federation of Community Broadcasters. We've been around since 1978 and represent about 200 radio stations around the country. The vast majority of them are created by volunteers. The production work is done by volunteers. The radio programing is done by volunteers. Operations work is oftentimes supported by volunteer hosts and producers and engineers and operations folks around the country. The vast majority of the stations that we work with, about 63 percent of them are rural stations are classified by the FCC, is rural. We do have a lot of stations in urban areas, but also a lot of stations in small parts of Maine, in Montana and Utah in areas that traditionally don't have a large scale. So as a result, many of them oftentimes struggle to put together the types of archiving that they need. We represent a diversity of stations, including Native American tribal stations, including Spanish language, Latino stations and many others that are also looking to get a sense of how to preserve the voices that they are broadcasting 160 odd hours every single week.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=480.03,607.48"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"These outwards, as you can expect, have their own unique opportunities here, but have a number of challenges. They preserve local arts and culture in a way that you don't see in large areas, particularly for rural areas. We see here in San Antonio how much the city embraces its arts and culture. You can put that down to a community of a few thousand people or even a few hundred people. And what a station means for civic life, for culture, for arts, for music. It is tremendous. And these stations represent quite an institution in these areas. They broadcast local elections, sometimes providing an opportunity for a local politician before they rise up for either fame or infamy in 10 or 15 years. This is an opportunity to hear them for the very first time and to have that recorded educational things. PTA, colleges, universities, high schools are oftentimes protected and preserved by these stations. Those voices have their first opportunity there. As I mentioned, you will also have rare music collections that these institutions oftentimes have out of print, music, vinyl. Other things that you can't otherwise find online or elsewhere. These libraries have maintained for years and years, but many of these institutions are finding out that the march of time is happening. Studio grade C.D. players are being discontinued. The music industry is getting out of C.D., getting out of vinyl in many respects. And a lot of these stations just don't have a place to protect these recordings. And as a result, they start to degrade and we start to lose them. There are a number of barriers, as I've mentioned, for these stations. Knowledge is really the biggest challenge. Many of these stations don't have access to standards, don't have access to metadata, and are struggling to figure out how to really codify what they have in hand and also to set criteria for how to protect a live performance, how to set up a recording or saving a file of a local election debate, for example.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=610.22,747.41"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so part of my joy of being here is to learn from so many of you as to how these kinds of processes happen so that we can take these forward as the National Federation of Community Broadcasters to these organizations, which are looking for guidance. I talked with a general manager recently who says, you know, we know that this is happening, but we're kind of just sitting here and waiting and hoping something's come out of the sky for us and provide to us the light. And we're going to be able to automatically do this. We're hoping to bring that to them as an F.S.B. But practically, we're going to really have to work because as I said, we're marching against time right now for so many of these stations. We will be convening a conference in July in which we will be setting aside a full track on this conversation for stations around both the preservation of live radio broadcasts as well as the rescuing of music libraries and some of the more mission critical recordings that are in danger of loss. So we'll be gathering many of those stations in July and hopefully through the information that we gathered here, as well as through work with the Radio Preservation Task Force with whom we began to partner last year around collecting many of these recordings, we'll hopefully be able to help guide some of these stations from just hoping for something to drop out of the sky to actually handed to them come July. We're also looking for guidance and partners. So if you see me in the hallway, please say, hey, I know how we did this. And here's an idea how not to fuck it up. And here's a good way on how to make it work.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=748.31,847.37"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So any help for any of us to help these stations? By all means, give us a guide. Thank you very, very much. Hi, everyone. I am not necessarily going to talk about what Chuck Stoltz told you about. Sorry about that. But two things that I do want to talk to you guys about our current access and what that means. And then just some fun stuff, though. One of the tools that we're using that we will be using in a more fleshed out term way when our Web site launches coming in. All right. As you know, I'm from Studs Terkel radio archive. We are tasked with making fifty six hundred programs available to the public. We're doing so for free. We will be doing that over the course of three to four years. They will be fully transcribed. You'll be able to play with the transcripts and then you'll also be able to remix the shows in a browser based tool. I'll show you that the first something I wanted to show you because I did it while I was here. Wednesday was the ability to really provide access to media makers. Right now, teachers, instructors, those who work kind of in the educational realm can email me and I can give them access to the Studs Terkel programs regardless of their copyright content, because they're using in the class and we are not hosted by YouTube. So they are able to use that, at least in the Chicago public schools. So but I have this where. I had this this producer who is working on a program that is what African-American language. And I could spell his name. Right. That'll probably help. Right. But it still gives me what I want anyway. So Wednesday morning I get this e-mail and the woman's like I know the times.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=847.94,975.27"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I know exactly what I want. Here's here's what I do. So I was sitting where Chuck is right now. And what I did was I was able to make these clips right here. These two that she needed, I was able to stash them right here and then give them to her. So I created the clips in the browser just by hitting play here. Right. I can hear play and we'll hear something. I'm just going to actually not. Okay. And then I'm able to just create these clips based on her timing. So she said, you know, the one starts at six fifty seven. And then I gave her like from like 650 to like, you know, 725. So that way. And then wave forms. So the clips are in wave forms. And I'm able to just then either share them with her, you know, I'll just show different one. But I can share these files. And because you don't want me to do it. Just kidding. This is not my computer. So I can share these files and I can set up all of these permissions. Can allow them to download it. I can have that expire whenever and I can titled it. I titled it like know Baldwin for Danika. Right. So. And then it'll send out a link. I send her the link, I make it into a Bitly link and give it to her and then it expires and she gets it. And she's happy. Right. So we try to do that with any of our media makers. So that way it's fam it's easiest. It's seamless from you know, the longest thing it takes us to do is have the release drawn up from IP and we're OK with that. So this is really driving our back and we'll drive her back end, which we're really excited about.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=975.78,1066.23"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It really provides us a lot of flexibility. I could go into how I get to create all the fields. I get the people when my boss is doing work at 2:00 in the morning because I can see all the logs and everything like that. And we're really excited about that. We're we're excited that we're able to provide access right now to anyone who wants it. And even if it's just a casual fan, I get emails. I would love to hear this program from 1962. Is it digitized? And if it is and even if it's not something that I can make publicly available. I do a log in, a password protected log in for them and then they're able to listen. And just because I feel like access shouldn't have to wait until the website launches, if I can make this good. I just want to get to the other links in the browser anyway. There we go. Thank you. All right. So the other one other tool that we're really excited about is called hyper audio. And we're actually developing plugins for Drupal and other open source tools with the with this hyper audio player, as well as the interactive transcript player. So at the end of that development, that will be available for any institution to use. I will tell you, the interactive transcript is going to be totally boss. And if we get some extra funding, the public will be able to annotate these transcripts. And so we're very excited to kind of add that level of engagement with our users. So the hyper audio pad is a browser based remixing pad and its original player, and it was originally designed for video oral histories. So if you have video, oral histories, this is a tool you probably want to check out.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1066.44,1163.37"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If you want to make make it so. Your public can also kind of play around with it. So I'm just going to do kind of a down and dirty mix based on one that I've already done. And you'll see that this is actually hosted on YouTube, but not our stuff. Ours is hosted on just in eight of us. So eventually all fifty six hundred programs that have no copyright content in there will be available. And again, this will be within our ecosystem. Currently it's out into a another Web site. And so we are hoping to doesn't get to tell me how much anyway. So here, for instance, you just click on a program and if I'm lucky. Come on. Thank you. All right. So here we go. Go back over here and we've got some background music and sort of chest pain or pleasure, although that's a shopworn phrase. Great pleasure. We really mean it because it's always good to have more of stuff. Right. OK, so that's Norm Pellegrini. And then here's studs and Studs doesn't let loose talk until like halfway through the program. So come on. Come on. Yes. So as you see, if I hopefully do this and I do that and maybe it'll bring no. No. So there we go. Oh. OK. So what I'm going to do is I'm going to take this aggregated character and I'm going to silence you, I'm sorry, but we'll come back to you. But then I'm going to put her right here. And you're like, why? Why would you want to do that? Well, because right here. I've got to go. No, let me move you. You spoke in the cutting room. You simply run the film through your fingers down to where you just got your mouth open on the second syllable.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1163.64,1280.13"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Cut. Well, I've never had any other science fiction, but I like, I think chapters in his only book that Science didn't read was an Arthur C. Clarke book before his interview. Which is weird because he read everyone talk about a remarkable book. This happened. No, I wrote an unconscious observation, but I never imitate anybody. And I never put anybody on me into a skin or fabricated characters at all, all invented people. But I naturally, I suppose, have some observation. Well, not exactly. I keep saying no for me. I really. Why stud's mind simonas Nelson Aldrin to talk. What did we have that capability with the pad. So we're really excited about that. And here what you do is you title it. You can you can fade. You can do terms. You can title it. You can save it. And then you it. You can embed it anywhere. So we see students using this to turn in audio for primary resources. You know, if they're doing something on poets or if they're doing something on on on writers or journalists or anything like that. And then those feed those mixes will automatically feed back into our site as a yet undetermined name of the site. Because my boss took it for his podcast. Anyway, I'm going to stop there. Now, what are you going to do? Right. So if you have a good, snappy name, that's not digital bughouse for creative reuse in a site. Please come see me. And thank you so much. Howdy, everyone. Just. As we get set up here. It's cold in here. Had to say that because we're in Texas, OK. I'm Karen on. This is the American Archive of Public Broadcasting, and I have a number of slides. I'm going to talk a really, really fast that I hope that's OK.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1280.85,1398.11"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We're talking about using computational tools and crowdsourcing games to increase Medidata discoverability and digital collections. Or can the computer do the work for us? We are WGBH Pop Up Archive, University of Texas at Austin School of Information. Well, I'm not on the WGBH, but the group is. The team is. I'm discussing a project generously funded by MLS. I am carrying Carry On, a senior director of the WGBH Media Library Archives and project director for the American Archive of Public Broadcasting. So I'm going to give you a really quick introduction on WGBH in the American Archive WGBH. As many of you know, is the premiere public broadcasting station in Boston. Producer Many core PBS programs like Nova Frontline, American Experience and yes, those were all TV. But we are also a radio producer at NPR Station. We have two radio stations in Boston. One is a classical music station. One is a an NPR news station. And we also service the Cape and the islands with an additional radio station. The American Archive is a collaboration between the Library, Congress and WGBH with a goal to preserve and make accessible significant public radio and television programs before they're lost. The American Archive is a digital archive with the website American Archived Dot org, the home page of what you see here. And I put some fliers out also. If people pick those up, users anywhere in the U.S. can access a wide range of historic public television and radio programs from the late 1940s to the present. Our primary objective is to preserve public media and assure discoverability and access through coordinated national effort. And in doing this, we support content creators and current stewards of the materials and facilitate the use of historic public broadcasting by researchers, educators, students and others and the Texas A\u0026M Radio Station.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1399.07,1507.01"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If you are a public station or noncommercial station, I want to talk to you about getting your material into our collection as an aggregator of content. The AP hopes to provide a centralized web portal of discovery for public media materials. The collection is growing with new additions access for research, educational, informational purposes only due to rights restrictions. A portion about 20000 items are available through our online reading room anywhere in the United States. However, the entire collection of 72000 items is available for viewing on location at the Library of Congress and WGBH. As part of the initial project funded by CPB, the AP has 72000 digitized TV and radio programs from about 100 stations across the country. Along with these digital files, we received incomplete metadata records and very little descriptive data and content about the program. Surprise, surprise, right. We have limited staff resources to fully catalog the 72000 items. We figured it would take a Full-Time Person about 32 years to watch and listen to everything, spending only 15 minutes per item to catalog the complete collection and all while we're adding 25000 items annually. So you can do the math and figure out that even if we could afford a team of 10 people to just catalog full time and that's over half my current staff, it would still take a long time and we'd still be needing to catch up on the new acquisitions. However, we need to know what we have. It helps us determine rights and what we can make accessible, and it also helps to find things. And to do that, we currently need to be able expose text for search engines and indexer. So you need to have texta exposure to the web and so the web can do your searches.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1507.46,1611.53"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So our problem. How do you transform large amounts of audio into something searchable for search engines and indexers? And how can we transform it into a dataset? So we thought this is a great opportunity for collaboration with computational tools and the computer science field, but we need to understand the capabilities that exist there. Here are some of the tools that are available that we know can help us with our dilemma. But it's really hard to figure out how do you use them? With this I am list funded project. We're working with Pop-Up Archive to create speech to text transcripts of the entire collection en masse and with UTI Texas to analyze the audio to help further identify speakers and sounds. And we will use a crowdsourcing game to help correct or fix the computer generated transcripts, which will hopefully then further help improve and train the tools that exist. We will not talk about image analysis yet. So working with public archive and the speech to text tools, many of these computation to use vocabulary that we as archivists still tend to use like. Line, lexicon, genome's. What the hell does that mean? This slide is their description of what's happening with the tool, and we need to be able to decode this for us to understand and then give input on how these tools can help us with our cut archive. As archivists, they take the sounds of speech or the sounds of audio, and they match it to letters and words and the tools that tool teaches itself as a corrections are fed back into the decoding process. This is an example of decoding one of our transcripts. There's a list of words with some pronunciations. The output is only the words recognized as part of the vocabulary.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1612.43,1712.8"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we need to feed new words into it to give them new vocabulary that might come up in some of our transcripts in order to have accurate recognition. This is an example of a transcript with named entities identified. So these tools can actually identify locations named identities being, you know, proper names. And it can pull the entities into strings that can make sense to identify categories. So this is pretty cool for us when we have a large, large collection. Just to be able to identify a location, a speaker or some information that would get you to know what this piece is about. We're not sure all these strings are necessarily important to highlight, like the ones about Halloween. But that's what some some of the things that the tools can do. We're also working with Hipster's high performance sound technologies for access and scholarship at the University of Texas in Austin. The plan is to use identified sound waves to match sound waves found in the collection to identify speakers. So we will feed them. This is still in process. But here are the speakers that we have identified in the collection. So we will identify. This is what Hillary Clinton sounds like. We will give them a piece with Hillary Clinton. They'll find the sound waves. They'll then take that sound wave and try to match it against other output, sound waves that exist in the collection to say, oh, Hillary Clinton is also in this piece over here. And it's cumbersome and it's hard. But we're hoping that as we work more and more with this, it will become easier. So experience has also shown us that most speech to text tools don't output clean transcripts. Accurate transcripts are dependent upon audio quality, speaker access, background noise, et cetera.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1713.61,1815.59"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And given that our collection is from 100 local TV and radio stations across the country, the variety of audio and audio quality is pretty wide. Some programs are in Spanish, some are musical performances, and nearly all begin with the standard bars and tones for video recordings. The speech detects Toul tries to interpret these sounds as texts that tries to put words to that tone or to those music pieces. And it makes a lot of other mistakes, too. So WGBH has created a web, a Web based game to allow the public to allow us to fix and correct those transcripts. The game has terms of use that we need the players to check off to make sure that they can understand they cannot use the content for anything but helping us to correct the transcript. And we've kept the clips to only five minutes in order to be able to take advantage of fair use. There are three games that you can play, identify arrows, suggest fixes and validate fixes. You can gain points for each action taken. You can set preferences in the type of content you would like to interact with. Or you can pick which station content you'd like to work with. We're hoping that perhaps to get stations to compete with each other by getting their volunteers to try to win more points. But we won't. We'll see about that. Right now, we're trying to move games through the pipeline from game one to game to the game three. And to do that, we need to have a corpus of. We need to have three people fix one trick, identify errors in a transcript at a time. So right now, we're focusing on PBS Hawaii because it has the smallest collection in order to move things to the games.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1816.42,1902.64"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If you'd like to play, please do so. Hawaii is a little difficult because the words are a little hard to identify. Each iteration of the game last five minutes, only five minutes to spend five minutes on it, but you can play multiple times for any length of time. Three lines of transcript are active at once. You listen to the audio, you see the line highlighted and you'd click on it if there's a mistake. There are instructions and guides in what's considered an error and how to market and takes a little bit of time to figure it out. But once you play a couple of times, you pick it up pretty quickly. In game two, you correct the things that have been tagged as an error or marked is not an error. Sir, if you're a copyright editor, this is like perfect for you. And game three, you validate the corrections that have already been made. You're given choices that have been fixed to pick the correct one. The game board keeps tracks of points and players and highlights the top scores. Hopefully one day we'll be able to give you an award of some kind. Studies have shown that people play these games for personal satisfaction and for the competition doesn't necessarily increase in amount of play. Mostly, you're going to get to hear a lot of really cool archival material as you go through the collection and you play the game. And it's really fascinating, the vast kinds of programs that we have. Once the transcripts have been verified, the Jason transcript will be stored in a. Amazon S3 account, an index for keyword searching on the Web site. The transports will be made available alongside the media on the record page, and there'll be they'll be played like captions within the video player.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1902.92,1986.51"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They'll also be harvested via an API to be used as a data set for research. We're hoping that researchers will begin to look at the collection as a data set and start to start trying to see trends from programing over the last 60 years, particularly across news programs. So be sure to play and tell your friends about it. And this is where you can find us. And there are fliers that I passed out and there's some more on the table if you'd like to see the website. Thank you. Extra innings, free baseball. I'm going to be fast. So my name is Brandenberg. I'm talking about the radio free of Radio Liberty Records at the Hoover Institution archives. I'm nothing. That's some info about us that I would tell you more about that time. Very quickly, ready for Europe as a U.S. government funded radio broadcasting organization. That word that was initially formed to broadcast behind the Iron Curtain, they still broadcast to Russia, but largely focus on Turkmenistan, Tajikistan, places like that, and then the Middle East. I think I have a map of my trip. The collection came to Hoover in nineteen ninety nine when it was Excession in 2000. You can see it's an incredible amount of material. And at one time upwards of 20000 manuscript boxes. We've since whittled that down to ten thousand meaning screw boxes, 90, 200 total linear feet is one and three quarter linear miles. If that gives you any idea, the seven hundred ninety three page plus finding eight is about 70 percent done. Seventy five percent done. And that is a series level finding. Just to give you a sense of how gargantuan this collection is that we split it up into the broadcast and corporate records.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=1987.47,2104.76"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What I'll be talking about today are the broadcast records. That's where the sound recordings are. That's a quick look at the inventory. The mini disk, it is an estimate because we got this to look through. And this is something. Yeah, this is something that you deal with. Right. When you when you have broadcast collections that are ongoing deposit, we have another one called the Commonwealth Club of California. Is that way as well. My estimate for this alone is over 10000. And this is the item level inventory that I've been creating for the last 10 years. And when I first arrived there in 2004, the seven inch tapes had occupied the bottom two rows, the most susceptible rows to flood damage across the entire stack area. And so what I did was box them. These are this is kind of student writing here. We boxed them by the language service and now they look like this. And they've also been strapped for earthquake. That's something we have to deal with in California. One thing I like about this is they're sturdy and safe in their boxes. Our transfer engineer can, when he's doing, you know, programmatic digitization, not reference requests, can do things at the box level. And finally, in the event of a flood or a pipe breaking or something, it's bitchier is a lot easier to take one box at a time than one tape in it. This is just a very quick look at how folks can find things. And in the stacks. We have a big industrial dehumidifiers in there to keep things at about 55 R.H. all year when new increments come in. They often look like that picture on the right. The joke that we like to use is, look what it was, Jim, say last year's Christmas lights.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=2105.91,2224.1"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, again, ongoing deposits, something we have to deal with all the time. They come in sometimes. The only thing we know about them is that in the case of the bottom left image. Those are these back tapes. And although we know our dates and then by then I have Kazakh tapes next to them. But at least you can see how they get filtered. And often the only thing we know about these tapes is the date, which is something that we'll talk about a second selection for migration. You have to imagine a Venn diagram of the first two recordings that or I should say Carriers', that are the most most unstable media. And then those that are exhibiting the most damage. And then we combine that with content that has been deemed important by either our curators or no brainer situations like Prague Spring, Romanian Revolution and the Hungarian Revolution as well, which was a big thing for us last year because it was an anniversary. And again, we only put that on supposed to check in the Southwest right now. There is our digitization specs are pretty common. We do 24 48 because the vast majority of these recordings are just the human voice. If it was music, we would be doing 24, 26. And Jim is up to five concurrent streams of audio right now. That usually means to open real tapes at a time to cassettes at a time and ripping one mini disk on a different Admon computer. And there's his workstations. And this this is some technical stuff I'm not going to worry about right now. One thing that we have to worry about is proprietary logging media, which is ready for Europe, stopped committing things to open real tape in nineteen ninety two.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=2226.29,2344.43"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I want to say 93 and everything was going to wreck Howard Safe, which is a VHS based audio medium that can that commits. I want to say 12 concurrent tracks of audio for twenty five hours at a time in order to allow overlap between machines. Imagine the amount of data it would create to programmatically digitize these things. Richard Haas was nice enough to give us a machine. And we found the one person left that was still repairing them about five years ago. He has since stopped supporting records safe. So supposedly our machine works, but there's not a chance in the world we're gonna do this programmatically. We just want to make sure we can do it in case there's a court order of some sort. Our CSI tracker is another system. Those are on A.D.s tapes. And again, you know, proprietary media, very tricky. And these this is a six track quarter inch tape that Jim noticed using a magnetic Vuuren partner institutions. Most of these folks have now folded into the Cold War communication project of the Radio Preservation Task Force. These are folks that I got in contact with and partnered with so that we can share digitization efforts. We want to make sure that we're not duplicating efforts. We all want to know who has what for reference. And we have meetings every five years. This is the 2015 meeting in Budapest where we discuss the issues that I just talked about. This is a profile of the Czechoslovak Documentation Center that's on our Web site that I put up. We have one for each of the partner institutions. I skip that. This is about reference references largely by date. That's about all that I've got because there's very little description on any of these recordings.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=2344.97,2454.56"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Were helping that with the RFE RL Historical Recording Description Project, which I'm talking about at the 130 session today. So if you want to hear more about that, you can. This is the home page for the RFE RL Records, and that would be the home page for the new digital collections website, which is the public facing and of our database. This is what it looks like if you pulled up Bellary service recordings. There's not very much information there. They have identical titles. All the dates are just 1951 to 2005 date range. No other descriptive data. And that's not the way it looks anymore. Thanks to the description project, which I'm talking about at 130. This is what you would see if you wanted to play something back. And I don't have time for that, but that's what it looks like. And then when you scroll down, you get the rest of the description. There's actually a text description there that says interview or interview somebody else about this topic in this city and this branch of the government. It's actually pretty rich description that we got entirely for free, which is the point of the RFE RL description project. These are my last two slides. The partner institutions. We also divided up digitization and access among different institutions. This way, the Polish National Digital Archives and Polish radio combined their efforts to digitize all 15000 Polish service tapes, and they now offer them online so we don't have to there. So we're giving this honor up to other institutions to partner with us, because if we don't, we'll never, ever, ever get them digitized. And the set to the National S.E Library in Budapest has a site up of recordings that they've digitized from 1956.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=2456.36,2566.82"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The Open Society Archives in Budapest has handled all 33000 Russian recordings. And that's it. Thank you.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491#t=2568.35,2574.73"}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/97491/transcript/19064/annotation/25","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/064/original/open-uri20200924-1401-k7srhy?1600957000","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/064/original/open-uri20200924-1401-k7srhy?1600957000"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/255816","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2017_Aguilar_Burke_Cariani_audio.mp3"]},"duration":2563.98463,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/255816/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/255816/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/816/original/ARSC_conf_2017_Aguilar_Burke_Cariani_audio.mp3?1730760636","type":"Audio","format":"audio/mpeg","duration":2563.98463,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29682/file/255816","metadata":[]}]}],"annotations":[]}]}