{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/db7vm4384c/manifest","type":"Manifest","label":{"en":["To Plan or to Implement? That is the Question!"]},"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":["Amy E. Armstrong (Presenter)","Lauren Walker (Presenter)","Brandon Burke (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio","Slides"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eIn 2014, the Harry Ransom Center at The University of Texas at Austin was awarded a National Endowment for the Humanities Preservation and Access Planning Grant to survey the Center’s non-commercial sound recordings collection. The goals of the year-long project were to assess the physical condition of 7,695 recordings, as well as determine the intellectual value of 224 recording collections in order to prioritize digitization of recordings most at-risk and those containing the most valuable content to researchers, institutional programs, and other diverse user groups. The ultimate goal of the survey, was to have the necessary data about the Center’s collections, so the Center would be well-positioned to apply for an implementation grant. At the conclusion of the survey, results were not too surprising, and in some respects, only confirmed what the sound recording preservation field has determined about at-risk media formats. So, was completing the survey worth the Center’s time? Did the Center learn anything new? Did surveying the collection result in any tangible and intangible benefits? After analysis and meeting with internal stakeholders, the Center concluded that surveying the collection in this manner—rather than first embarking on a large-scale digitization project—indeed yielded benefits. This presentation will give an overview of the Ransom Center’s non-commercial sound recordings collection, outline how collection management techniques can inform prioritization strategies, briefly detail the survey process, and examine the results of the Center’s survey.\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"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Amanda McCabe"]}}],"summary":{"en":["\u003cp\u003eIn 2014, the Harry Ransom Center at The University of Texas at Austin was awarded a National Endowment for the Humanities Preservation and Access Planning Grant to survey the Center\u0026rsquo;s non-commercial sound recordings collection. The goals of the year-long project were to assess the physical condition of 7,695 recordings, as well as determine the intellectual value of 224 recording collections in order to prioritize digitization of recordings most at-risk and those containing the most valuable content to researchers, institutional programs, and other diverse user groups. The ultimate goal of the survey, was to have the necessary data about the Center\u0026rsquo;s collections, so the Center would be well-positioned to apply for an implementation grant. At the conclusion of the survey, results were not too surprising, and in some respects, only confirmed what the sound recording preservation field has determined about at-risk media formats. So, was completing the survey worth the Center\u0026rsquo;s time? Did the Center learn anything new? Did surveying the collection result in any tangible and intangible benefits? After analysis and meeting with internal stakeholders, the Center concluded that surveying the collection in this manner\u0026mdash;rather than first embarking on a large-scale digitization project\u0026mdash;indeed yielded benefits. This presentation will give an overview of the Ransom Center\u0026rsquo;s non-commercial sound recordings collection, outline how collection management techniques can inform prioritization strategies, briefly detail the survey process, and examine the results of the Center\u0026rsquo;s survey.\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/000/097/493/small/ARSC_conf_2017_Armstrong_Walker_thmb.jpg?1730768149","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1v6j9p.mp4"]},"duration":1659.84,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/493/small/ARSC_conf_2017_Armstrong_Walker_thmb.jpg?1730768149","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/493/original/open-uri20200922-6764-1v6j9p.mp4?1600801181","type":"Video","format":"video/mp4","duration":1659.84,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043","type":"AnnotationPage","label":{"en":["AUTO_TRINT_To Plan or to Implement? That is the Question! [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"OK, do you want to get your next presentation? Oh, you're OK. Great. Oh, thank you. Is he with the mike? Our next presenters are Amy Armstrong and Lauren Walker. The presentation is entitled to plan or implement. That is the question. Amy is an archivist and head of the archives cataloging unit at the Harry Ransom Center at the University of Texas at Austin. She is currently processing the Harry Whodini collection, which unfortunately does not include any sound recordings. Amy is also responsible for cataloging the noncommercial sound recordings received with archival collections. Her interests include exploring ideas to make the ransom center's recordings less hidden to researchers and understanding the ways scholars use sound recordings in their research. Lauren Walker is currently the digital project's librarian at the Harry Reid Center. She has previously worked as an audio digitization technician, a conservation technician and a project archivist at the center. She has an NSA asked from the University of Texas at Austin and a BFA from the School of the Art Institute of Chicago. Her interests include analog audio, electro acoustic improvization and ethnographic field recordings. I give you Amy and Lauren. Thank you very much. I'm Amy. So we're switching gears a little bit. We did a survey of a much, much smaller collection. So in two throughout 2014, the Harry Ransom Center was awarded at any Age Preservation and Access Planning Grant to fund a survey of the center's noncommercial Sound Recordings collection. The goal of the year long project was to assess the physical condition, as well as determine the intellectual value of the center's unique sound recordings. We want to give you an idea of our collection and the tools. The ransom center already had in place before beginning the search. The Harry Ransom Center is primarily a literary manuscript and performing arts archive.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=13.12,138.02"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the ransom center does not actively collect audio recordings. Rather, they are received as part of the personal papers and organizational records acquired for archival collections. When we applied for the grant, there were about 14000 recordings. As of today, there are almost 15000 recordings cataloged in the center's Sound Recordings database. Three thousand two hundred sixty four have been digitized. Formats in our collections include wax cylinders, wire phonograph discs, dictation discs and belts, reel to reel tape, audio cassettes, my group has said c.D mini disc, digital audio tape and other digital formats. Majority of the center's recordings are cataloged, but the information is taken directly from the original recordings, labels resulting in descriptions that can be misleading, incomplete or sometimes nonexistent. Some prime examples of this are descriptions on the tapes of film director Nicholas Ray, like this one or this. We assume that most of the recordings are unique, but many are not. For example, there are mixed tapes and recordings from radio broadcasts. Here's a label from a lacquer disc in the Gloria Swanson papers. The label indicates the recording was broadcast on WTOL in nineteen forty five. There are two types of recordings at the Harry Ransom Center, one are recordings that are integral to the creative process and two recordings that documents some aspect of the creator's life and work. For example, some writers dictated drafts of their work as part of the writing process, such as Norman Mailer dictating his 2007 novel, The Castle in the Forest, while other while another cassette in his collection is a dubbing of the audio from his appearance on the Larry King show in 1991. To illustrate the uniqueness of the singer's recordings, let's take a look at one of our collections. This is an overview of the recordings that belong to actress and producer Gloria Swanson.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=138.92,279.29"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's a good example of the range of recordings we might find in one of our collections. We've got multiple formats and a range of content. Gloria was an early practitioner of clean and healthy living and alternative health practices from the labels. Most of her tapes are mind body, spirit workshops, conferences related to cancer and other chronic illnesses and self-help tapes. Swanson had her own shows and made regular appearances on Steve Allen, Dinah Shore, Milton Berle and other radio and TV programs. Almost as many of the recordings as these. The most interesting, perhaps, are her dictation recordings were Swanson relates her life story in preparation for order. Her autobiography for a large amount. We just don't know the content. Why did we think we needed to do a survey? Well, we know what we have to some extent. All of the noncommercial sound recordings are represented in an item level database. Patrons can access digitized audio and its metadata in the center's reading and viewing room. But accessing not yet digitized material is a more involved process. The center established an Avey lab for reformatting analog recordings have orders. Some curators submit requests. But there has been limited curatorial guidance because we know magnetic media is most Sirtris. Technicians usually digitized tapes that were of interest to them. And thinking about what we wanted to achieve. The ransom center was informed by the model used by India University, Bloomington to design Meta Rivers and media score. I'll say more about these tools in a moment, but their model takes into account a recording's condition and intellectual value. So in our NIH grant application, we stress the importance of considering a recording's content with almost fifteen thousand fifteen 15000 recordings. We needed to prioritize and focus on the most important recordings and the materials are patrons use.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=280.4,408.21"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The survey started in September 2015 and concluded in October 2016. The main tasks of the survey included selecting a survey tool, inspecting and assigning a research value to the recordings, analyzing results and determining next steps. Now let's turn to the survey. Many of you might recognize some of these survey tools. Piece stop and media score and media rivers were released in 2015. And are the newer kids on the block? We go into a lot more detail about these tools in our NH report and white paper, which we can make available to you. Indiana University, Bloomington and a bee preserve. Created Meteor Rivers and media score, which can be used together to assess condition, technical risk and obsolescence, as well as research and instruction value at the collection level. The University of Illinois at Urbana Champagne released a beta version of Peace Step, which was actually an expansion and replacement of their abscessed tool, which was the tool we originally selected. We tested both and they each had strengths, but neither had been widely used because they were new. So we couldn't rely on user forums, test cases or articles to evaluate which tool would be best for us. Ultimately, the ransom center installed media scored media rivers. However, we had challenges with media score and after troubleshooting for a couple of weeks, we changed course and began using PSAP. In order to collect item level data that was meaningful about our noncommercial audio recordings, I realize modifications could be made to our in-house database, integrating data collection into my survey workflow to initiate these modifications. I did research on all possible characteristics for each format in our collections and all possible condition issues. Using our database as a tool for survey allows us to control our data at our institution.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=410.64,532.14"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This data will be used by stakeholders for estimating budgets and negotiating with vendors. It can be queried in a variety of ways, such as displaying records for all cracked glass discs while deterioration conditions impact scoring in the survey tools. Those tools were not designed to work with data in the ways our database can query. Here's an example of the page for documenting format characteristics of reel to reel tape. These characteristics are informative to the digitization process. Characteristics of a recording determine the equipment needed for playback, such as track format. Other characteristics like real with really how long the recording will be and thus how long digitization will take. Here's an example of a page documenting condition issues with both of these pages. It is easy to fill out information quickly with the recording in front of you. There is a place for describing the housing and for entering the piece up score. There is space for notes, but as a conservator once told me, surveyors should be descriptive, not prescriptive. Visual inspection and data entry took the majority of time in the survey. My recommended survey tool kit is a large table adjacent to your computer. Nitrile gloves, a precision light source, Aluf and a micro spatula. Our only cylinder's our dictation cylinders, and our collection is complete with the machine used by the creator for shaving and rerecording these cylinders, some cylinders were visibly reused many times, some even shaved, smooth and ready to record the degradation very greatly from those covered in mold blooms or shattered to pieces, while others had perfectly clean grooves. These cylinders are from an unprocessed collection, which leads to the assumption that they are low priority. However, the labeling on the cylinders suggests an intimate view of the creator's process and lifestyle.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=533.46,655.51"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Disk assessment went beyond the visual smell and weight can tell a lot about these objects. At this point, witnessing the variety and uniqueness of each disc, I realize the importance of capturing detailed information that can relay every feature of the disk without its presence. Most issues with cassettes are failed components, which are remedied by transferring a tape to a new show. The greater issue is cassettes. Is the lack of labeling or documentation on them or that a 90 minute cassette can end up having only three minutes of recorded content. Again, I found it would be far more useful to record information such as cassette lang or if the tape was twisted into the wind, then simply note a condition score because detailed information can be used to predict time and cost of a digitization project. Reel to reel takes the longest amount of time for inspection. Two thousand four hundred sixteen reels took nearly three months. Tape is often falling off. The real and opening boxes sometimes reveal microclimates of mold or vinegar's syndrome. Another rule I can pass on, don't trust the box. I found paperback tapes and acetate boxes, acetate tape and polyester boxes. And as most of you know, these distinct differences are very important to ensuring proper playback of the media. The ransom center collection has many dictation recordings, such as Gray Autograph and Sound Scriber discs. But I found it difficult to uncover information about these formats and their deterioration problems. No survey tool included these formats. There's certainly an opportunity for more research here. I've observed dictation belts leeching bright red dye onto their archival envelopes, extremely warped in trust, transparent plastic, folded belts, even scratches that looked intentional to make this unplayable. Determining how to capture intellectual value was the most challenging part of this project.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=658.64,785.37"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The tool we created had to be green. The tool we created had to be granular enough to get at the information we wanted. But not too complex or time consuming and calculating scores needed to be easy in designing a tool. We needed to consider a few things. Most importantly, the success of scoring the collections presumes that the staff is familiar enough with the creator and her work. This may not be true with some of our more obscure collections. If we don't want to score at the item level, how should we group collections by curatorial area, by format, by collection, name by recording genre such as music, interviews, dictation. We remember this. This slide. We focus should be simply focus on the importance of the creator of the collection and not consider genres. In other words, if the creator is Gloria Swanson, should the film trader look at all of her recordings as having equal importance, regardless of the actual content, because they were Gloria Swanson's. So then the entire collection would get one score. This is an overview again of her collections, where a lot of them talk about the evils of sugar, meditation and E.S.P. These recordings do have value in that. They tell us a lot about Gloria. But do we actually need to digitize them and make them available to researchers? If we do consider genres, we'd have to assign each recording to a category, which would be hard since Lauren and I aren't familiar with some of these people. And because the original labels are so obscure, should we consider what has already been digitized? Are we interested in using completeness as a desirable condition for establishing a priority list? So should collections that are mostly digitized be ranked higher? We created a prototype based on Columbia University's audio visual survey tool pictured on the left.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=787.82,905.96"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We subdivided the collection. Each collection into broad genre categories because it seemed necessary to get that granular in order to establish meaningful priorities. After discussion with other staff, we simplified it quite a bit and asked staff to give one score to the entire collection. Pictured on the right, we also provided staff with how many times that paper base collection had been used. If there was a finding it online and how many recordings have already been digitized. The good news is most of our recordings are in poor condition, but few are in good condition. It didn't surprise us that most of our collection fell into the fare category. These recordings fall into a gray area. Neither good nor bad. This actually can make it harder to initiate action when research value is considered. We get a little more nuanced data. It breaks down that vague fare category into five rankings. If we're going to prioritize based on condition and research scores, it would seem obvious that these four thousand seven hundred and thirty three recordings outlined in red would be the highest priority. You would think they went. This is who? Who. Muddy Waters. Yes. OK, great. We see we fill the survey, muddied the waters a bit. We said at the end of this presentation we would be able to give you answers to these questions. We definitely benefited from the survey, but perhaps the biggest benefits have little to do with the scores. Because what does a magic preservation number tell us? It doesn't convey a lot of information. For example, it may tell us that the center has three thousand seven hundred twenty two open real tapes in fair condition. But what does that actually mean? What's the real difference between a tape that scored 58, putting it in the poor category and a tape that scored 62, putting it in the fair category for research value? If we only focus on the high and unique categories? What about all of the eighteen hundred recordings that fell in fair condition? And with pertinent research value? For example, look at Gerald Frinks collection.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=906.8,1046.53"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He wrote the first book about the Boston Strangler, Albert DeSalvo, in 1968. His recordings include hours of interviews with key players in the case. Portions of them were used in a recent 12 pot 12 part podcast series called Strangler's. Yet Frinks recordings were ranked low by staff. The fact that almost every recording was reviewed individually has given us a better understanding of our collection, which already has been immensely valuable. Additional condition information has been added to our in-house database. So now we can query, for example, all tapes that have an acetate base. This has been helpful in collecting data for our grant applications. Because of this survey, we've learned many things about our collection to help direct preservation efforts moving forward. One tangible result is that sound recordings have been recognized as a priority to our institution. And we're now pursuing implementation grants. The modifications to our database and the information available there has been informative to the process of pursuing those grants. Conversations with stakeholders over sound recordings can be complex. A score can sometimes be distracting from concrete factors of the recordings. We found that having the materials there out of stakeholders meeting can have a positive impact. Audio materials can be intimidating to some, but seductive as well, and a visceral response can initiate action. How can we steer our stakeholders to factor in the complexities of our sound recordings that will affect prioritization? One example is that certain media are chosen for a reason by a creator. Tape allows for more manipulation, with editing as a working process. While discs require more investment and a more formal recording process, demonstrating this through the recordings themselves is a much is much more productive for people who may have not previously worked with sound recordings.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=1047.4,1172.67"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Another benefit of a survey is that it can serve as a reset moment to integrate new workflows where assessment processes can be integrated into normal operations. Acquisition appraisal and archival processing are moments when prioritization can be assigned rather than as a separate step for curators. After all those processes are completed, the modifications to the in-house database were designed such that cataloging format, description, condition and reformatting information can be entered in sequence. For each recording as it is acquired process and reformatted. So in conclusion, the survey was beneficial to us. The point of all this is to make our sound recordings available to researchers. That means preserving them as well as ensuring they are discoverable. There will only be so many opportunities to apply for implementation grants as the deadline for preserving certain media approaches. Like many, media, competition for grants will increase by proving that we have done our due diligence. We are better positioned to apply for the limited grant funding that is available also for every recording we pick for preservation. There is another recording that isn't. So we must know our researchers and understand their research needs. More scholars are using sound recordings as the basis for their research and exploring new areas of scholarship. Artists, documentarians and journalists are reusing archival material more than ever and producing new creative works. Every institution is different, but we hope that our case study has provided some useful insights in determining whether a conditional survey would be useful for your institution. Thank you. Thank you. Leaving more. Curious, is it any kind of or a right? Well, it definitely definitely does. A lot of our collections are creative and well-known people. And so the curators tended to select recordings. We're fortunate that we have curators even in certain genres, to help us with that process.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=1174.98,1328.74"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But since so many of our creators are well-known, it tends to be the more well-known collections that are used and tend to be the collections that are higher prized. Like, for example, we have the David Foster Wallace collection. That's a highly used collection. And so any sound recordings in that collection would have been preserved. Do you have anything to add? But the other thing we kept struggling with throughout all of this is because the ransom center is very selective. And what we take in, there's already been a distance, an appraisal of value. And so we kept struggling with the fact if we were really like splitting intellectual value hairs when we came back to this question all the time. And we're still struggling with it actually, because we're preparing grant applications currently and it still feels like we're still having to query curators, even though we have all this data. Yes or no? In your house, and they're also for you. So that's what we're trying to argue for, like our conservation department curators, people who do the work to select those collections, to kind of say, OK, this is our moment when we have to assess all of the materials when they come in in boxes. Can we just make those decisions now, enter that into the database and plan from the moment when they arrive in our building. And just historically sound recordings and moving image haven't really been a high priority for our institution. So we we do have a small lab in house. But, you know, we get collections all the time and not knowing how much a new material will be in them and if we can really even handle that. For example, we got the Melda. So papers. He was a a literary excuse me, a drama critic for The New York Times.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=1330.45,1455.6"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There were over a thousand cassette tapes in his collection that we weren't necessarily expecting. And so, yeah, we're trying to hopefully be proactive. That's the benefit of this, as it's really put this collection in the spotlight for our administrators. And so we are we've already applied for a grant that we received the clear grant, and then we're going to be applying for a course in age and implementation. And this is also a recent moment. As Lauren said, we're trying to figure out if our digitization program is something we really want to invest in or if we want to look at more of outsourcing are our material. So, yeah, thank you for your question. So we're currently going through something similar to a conservation assessment for some time. And why Europe is working hard. But what I'm finding, the things that I'm working on. Right. I'm wondering if you're right, in roadblocks in terms of job preservation, infrastructure. So right now we're thinking, you know, maybe we qualify for favoritism at this time in terms of the sustainability part of the grants. We don't feel like we are equipped to qualify for compensation grant. So could you see a little to that, your job preservation infrastructure and other your rights issues or. Do you mean like storage after it's done or. Emotional areas of the NASA bubble basically revert right after. That is just a preliminary assessment. And. Well, we have this server first preservations servers that we manage on site and access is also on site, so we do already have somewhat of an infrastructure for that. And since we're part of the University of Texas, we can use a lot of those large university infrastructure points to kind of say, you know, we need some more storage.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493#t=1455.96,1608.92"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29684/file/97493/transcript/19043/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we do get that. And we have checksums. We we do have like a workflow that we developed for our in-house avy love that I think counts for all of those requirements. And then we just kind of build on that, depending on how much we preserve. 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