survey of the collections of the audio web viewthe national library of jamaica (nlj) is the focal...
TRANSCRIPT
TABLE OF CONTENTS
1. Introduction.................................................................3
2. Analysis........................................................................4
3. Conclusion...................................................................7
4. Appendix.....................................................................10
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INTRODUCTION
The National Library of Jamaica (NLJ) is the focal point of the Jamaica Libraries and
Information Network (JAMLIN) and therefore has responsibility for the preservation of the
national patrimony, including indigenous sound and image recordings. The Audiovisual
Information Network (AVIN) has been established to fulfil this mandate for audiovisual
material. The National Library's Audiovisual Department has conducted a survey among
members of AVIN to determine the following:
1. Contents of the collections
2. Organization of collections
3. Available services offered by the units
4. Preservation practices
The survey was divided into six sections:
1. Survey Population – which examined the types of organizations, staff, training, services
and clientele.
2. Collection – the various formats.
3. Condition of Collections – examines the general state of the various collections.
4. Preservation - are there systematic programmes in place for preservation?
5. Digitization – the transferral from the analogue format to the digital.
6. Collection Management – examines the methods, software used to describe/catalogue
the collections.
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ANALYSIS
1. Survey of PopulationOf the eighteen (18) members of the network, the following seven (7) responded:
1. The Planning Institute of Jamaica
2. The University of the West Indies (Main Library)
3. Ministry of Justice
4. Jamaica Tourist Board Library
5. National Library of Jamaica
6. Edna Manley College of the Visual and Performing Arts
7. The Gleaner
A breakdown of the respondents reveals that of the seven, four (4) were special libraries, two (2)
were academic libraries and one (1), a national library.
How many members of staff work with the audio visual collection in your library?
Has the staff been trained to specifically work with audio visual material?
Of the seven, five have small staff complements of one to three (1-3) persons while the
remaining two indicated that their staff numbers ranged from ten to fifteen (10 -15) persons who
worked with the audio visual collections of each library. Where training is concerned, that is,
training to specifically work with audio visual material, the majority of respondents – 57% (4)
indicated that their members of staff were trained to work with the collections, while the
remainder – 43% (3) indicated the opposite. When asked to specify what level/type of training
was given – one library (UWI) indicated that training had taken place at the post-graduate level
and that technicians had been trained at libraries abroad. Another institution stated that staff has
been trained in editing both audio and visual formats, the conversion from analogue to digital
formats as well as the handling, repair and storage of material. Yet another library (NLJ) stated
that staff members had been trained in the handling and storage of material. It should be noted
that the type of library seems to have little bearing on whether or not staff has been trained to
work specifically with AV materials. For example, of the two academic libraries (UWI & Edna
Manley) who participated in the survey, only one indicated that its staff had been trained.
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What services does your audio visual section offer?
All institutions offer both viewing and listening services. Most respondents (57%) also allow
loans from their collections, however only 29% facilitate equipment loans. Of the seven, 29% (2)
provide reproductive services. Only one institution (NLJ) offers editing services, the same for
filming.
Who are your clientele?
Despite what the numbers indicate, the fact is that all the respondents offer services to the public.
2. COLLECTION
What audio visual formats do you have in your collection?
All respondents indicated that the following are part of their collection:
Videocassettes
DVDs
Audiocassettes
CDs
With regards to the other formats the response was fragmented. A breakdown of the formats
showed that where persons had a particular format, e.g. videocassette, more often than not they
possessed the more common version, e.g. Umatic (less common) vs VHS (most common).
3. CONDITIONS OF COLLECTIONS
For those institutions with a film collection, the responses indicated that these collections were in
fairly good condition; for videocassettes – good to very good; DVDs generally very good
condition; Mini-DVs – for the most part very good; Phonodiscs (vinyl) – Good; Reel to reel –
average to good; Audiocassettes – conditions ranged from very good to average; CDs – very
good.
For the most part the collections seemed to be in fairly good condition.
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4. PRESERVATION
While most institutions do not have a preservation programme (only Edna Manley and NLJ have
programmes) most respondents do store their collections under climate controlled conditions.
Where transferral of materials is concerned, roughly half of the respondents do have a system
programme where material is transferred to new carriers. Only two respondents (PIOJ and the
NLJ) maintain (service) their playback equipment.
5. DIGITIZATION
In answer to the question: “Do you digitize AV materials?” four of the seven respondents
answered in the affirmative. The format most commonly digitized was the videocassette, while
the most frequent reason for digitization was for preservation purposes. WAV (audio), AVI
(film), MP3 (audio) in this order are the most frequently utilized formats. Where storage is
concerned most institutions (67%) stored their digital materials on DVDs. The runners-up were
CD-R, servers and hard drives in that order.
All respondents offer access to their digital collections through the use of an internal workstation
or an on-site network. Also offered by three of the respondents were copies on request and one
organization allows for complete files to be downloaded from the internet.
Half of the respondents indicate that the analogue originals are kept after digitization.
6. COLLECTION MANAGEMENT
Half of the respondents utilize some kind of software to describe or catalogue their collection
with WINISIS being the dominant title (two respondents stated that they were specifically using
AVIDA, a database specifically created for audio visual materials using the WINISIS software.
However, for the most part (67%) only 20% of any of the collections have been described or
catalogued. One respondent answered in the 20% - 40% category while another responded in the
60% - 80% section.
In answer to question: “How can your catalogue be consulted?” four respondents indicated that
access is available on site while two indicated that their catalogues are available via the internet.
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In answering the question: “Which searches are possible at the present level of
description/cataloguing?” all respondents indicated that persons are able to search by title; 80%
allowed for keyword searches while 60% allowed for searches using subject headings. N.B. With
one exception, respondents indicated their present level of description/cataloguing allows for
searching using titles, keywords and subject headings.
All respondents use AACR2 as their standard/guideline for cataloguing. One (NLJ) respondent
also uses Dublin Core as the recognized standard for metadata.
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CONCLUSIONThe data indicates that there is no common variable informing the decisions made by the
individual institutions with regards to their collections. For example although there are two
academic libraries (UWI & Edna Manley) which are part of the cohort, however, only one
(UWI) has staff trained to work with the AV collection. On the other hand, where these same
libraries are concerned, one (Edna Manley) has a systematic programme of preservation while
the other does not. This is a situation that needs to be corrected.
“To collect, document, preserve and provide scope for access to recordings of the sound, still
and moving image aspects of our rich cultural heritage” is the mission statement of the Audio-
Visual Information Network (AVIN). The network’s overall objectives can act as guidelines for
action using the information culled from this survey:
1. To set priorities for the development of an effective and cohesive Audio-Visual
Information Network (AVIN).
This can be accomplished through a series of meetings with stakeholders.
2. To promote cooperation and resource-sharing among audio-visual units within
Jamaica.
The creation of a Union Catalogue for Audio-visual materials is the first step in
accomplishing this objective. This should be a priority for AVIN.
3. To standardise documentation tools/procedures for identifying and labelling the
wealth of information stored in audiovisual formats.
AVIN needs to encourage the use of international standards in cataloguing audio-visual
material, e.g. AACR2 and IASA (International Association of Sound and Audio-Visual
Archives) guidelines. Perhaps seminars and/or workshops could be utilized in
disseminating the necessary information.
The use of AVIDA would also be essential as it would greatly facilitate the
standardisation of cataloguing methods and the creation of a Union catalogue.
The AVIDA database was developed by the National Library of Jamaica to provide a
standardized tool for the computerization of the management of records of audio visual
collections in Jamaica. The use of a common database structure by the organizations
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with audio visual collections will facilitate data exchange and computerized networking
in support of the development of the Audio-Visual Information Network (AVIN).
4. To facilitate the most effective use of our national audio-visual resources.
Ensuring access to the various collections is essential. One way of accomplishing this is
of course through the proper cataloguing of collections as well as the creation and
population of databases. Yet another is the dissemination of information about the
collections through the use of websites, social media, etc.
5. To bridge the communication gaps between generators, users and keepers of audio-
visual materials.
The recommendations are as follows:
a. Have bi-annual meetings with members of AVIN where a variety of issues and
concerns can be discussed and solutions sought.
b. The creation of a blog (created and monitored by the focal point – NLJ) which
will focus on all things audio-visual. Articles from a variety of sources will be
published and submissions from members would be welcome. It could act as a
forum wherein members would feel free to ask questions or expression concerns
about a variety of issues.
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APPENDIXSURVEY POPULATION1. What is the name of your organisation?
Archive 1 14%Library 5 71%Museum 0 0%Broadcaster 0 0%Commercial Collector 0 0%Private Collector 0 0%Other 2 29%N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
2. How many members of staff work with the audio visual collection in your library?
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1 - 3 5 71%4 - 6 0 0%7 - 9 0 0%10 - 12 1 14%13 - 15 1 14%Other 0 0%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
3. Has the staff been trained to specifically work with audio/video material?
Yes 4 57%No 3 43%
4. If answer to previous question is ‘yes’, state in what capacity.a. Librarian trained at the post graduate level b. Technician trained at libraries abroadc. Assistant trained in housed. In the area of editing in both audio and visuale. The transferring from analogue formats f. Handling and storage
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5. What services does your audio visual section offer?
Viewing 7 100%Listening 7 100%Loans (from collection) 4 57%Equipment loans 2 29%Reproductions 2 29%Editing 1 14%Filming 1 14%Transcription 0 0%Other 1 14%N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
6. Who are your clientele?
Public 3 43%In House only 5 71%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
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COLLECTION
1. What audiovisual formats do you have in your collection?
Film 4 57%Videocassettes 7 100%Open reel magnetic tapes 4 57%Phonodiscs 2 29%DVDs 7 100%Mini-Dvs 3 43%Audiocassettes 7 100%CDs 7 100%Other 0 0%N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
2. If applicable, indicate which type of film do you have in your collection?
8mm 1 33%
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16mm 2 67%35mm 0 0%Other 1 33%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
3. If applicable, indicate which type of videocassette you have in your collection.
Umatic 2 29%VHS 7 100%Other 0 0%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
4. If applicable indicate which type of open reel magnetic tape do you have in your
collection?
15 (speed) 1 100%7 1/2 (speed) 1 100%3 3/4 (speed) 1 100%1 7/8 (speed) 1 100%Other 0 0%
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N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
5. If applicable, indicate which type of phonodisc you have in your collection.
LPs 2 100%45s 1 50%Other 0 0%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
CONDITION OF COLLECTIONS
1. Condition of collections - Film
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Very Good Not applicable
1 - Very Good 1 14%2 0 14%3 1 14%4 1 0%5 - Not applicable 1 14%
2. Condition of collections - Videocassettes
Very Good Not Applicable
1 - Very Good 4 57%2 1 14%3 2 29%4 0 0% 5 - Not applicable 0 0%
3. Condition of collections – DVDs
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Very Good Not Applicable
1 - Very Good 6 86%2 1 14%3 0 0%4 0 0% 5 - Not applicable 0 0%
4. Condition of collections – Mini-DVs
Very Good Not Applicable
1 - Very Good 2 29%2 0 0%3 1 14%4 0 0% 5 - Not applicable 1 14%
5. Condition of collections – Phonodiscs (Vinyl)
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Very Good Not Applicable
1 - Very Good 0 14%2 2 14 %3 0 0%4 0 0% 5 - Not applicable 2 29%
6. Condition of collections – Open Reel Magnetic Tapes
Very Good Not Applicable
1 - Very Good 0 0%2 1 14%3 2 29%4 0 0% 5 - Not applicable 2 29%
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7. Condition of collections – Audiocassettes
Very Good Not Applicable
1 - Very Good 2 29%2 4 57%3 1 14%4 0 0% 5 - Not applicable 0 0%
8. Conditions of collections – CDs
Very Good Not Applicable
1 - Very Good 6 86%2 1 14%3 0 0%4 0 0% 5 - Not applicable 0 0%
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PRESERVATION1. Do you have a preservation programme for your audiovisual collection?
Yes 2 29%
No 4 57%
2. Do you store your audiovisual collections under climate controlled conditions?
Yes 5 57%
No 2 43%
3. Do you transfer materials to new carriers as part of a systematic programme?
Yes 3 43%
No 4 57%
Other 0 0%
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N.B. People may select more than one checkbox, so percentage may add up to more than
100%.
4. Is there regular maintenance of playback equipment to audiovisual materials?
Yes 2 29%
No 5 71%
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DIGITIZATION1. Do you digitize AV materials? (If No, skip this section)
Yes 4 57%
No 2 29%
Occasionally 1 14%
2. If Yes, indicate which formats are digitized.
Film 2 40%Audiocassettes 3 60%Videocassettes 4 80%Phonodiscs (Vinyl) 2 40%Open reel magnetic tapes 2 40%N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
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3. What are the main reasons for digitizing materials?
To create copies for browsing on website 2 40%To provide copies at the request of users 1 20%For preservation purposes 5 100%To rescue content from original (now obsolete) carriers 4 80%Other 0 0%N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
4. What formats do you use for digitizing?
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WAV 2 67%MPEG1 0 0%MPEG2 0 0%AVI 1 33%WMP 0 0%ASF 0 0%MPEG4 1 0%MP3 2 67%AAC 0 0%Other 0 33%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
5. How do you store digital materials?
CD-R 3 50%DVD 4 67%Digital mass storage system (servers) 2 33%Hard drives 2 33%Other 0 D0%N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
6. How can the digital collections be accessed?
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Internal workstation/on site network 5 100%Copies for browsing on web 1 0%Streaming on the internet 0 0%Complete files can be downloaded from the internet 1 0%Copies are made on request 3 60%As part of products that are sold (CDs, DVDs) 0 0%Other 0 0%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
7. Do you keep all the analogue originals after digitization?
Yes 3 43%
No 3 43%
COLLECTION MANAGEMENT
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1. Are you utilizing any software to describe or catalogue your collections?
Yes 4 57%
No 3 43%
2. If ‘Yes’ indicate the software used.
1. AVIDA 2. Sharepoint3. WINISIS4. WINISIS5. AVIDA
3. What percentage of the audiovisual collection has been described or catalogued?
0% - 20% 4 67%20% - 40% 1 17%40% - 60% 0 0%60% - 80% 1 17%80% - 100% 0 0%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
4. How can your catalogue be consulted?
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On site 4 67%Through the internet 2 33%Other 0 0%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
5. Which searches are possible at the present level of description/cataloguing?
Titles 5 100%Maker 1 20%Keywords 4 80%Subject headings 3 60%Date 2 40%Other 0 0%
N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
6. Which standard or guideline do you use for cataloguing/description/metadata?
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AACR2 5 100%MARC 21 0 0%Dublin Core 1 20%International Federation of Film Archives (FIAF) cataloguing rules 0 0%International Association of Sound and Audiovisual Archives (IASA) cataloguing rules 0 0%Metadata Encoding and Transmission Standard (METS) 0 0%Other 0 0%N.B. People may select more than one checkbox, so percentages may add up to more than 100%.
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