Call for Papers
June 24-27, 2008Bern, Switzerland
Short Courses
Special Short Course Offer
Take More and Save! Take 8 hours worth of courses and save!!! Register for any combination of 8 hours worth of classes (four 2-hour classes; two 4-hour classes; one 4-hour and two 2-hour classes) and take €40 off your total short course registration fee. Just choose your classes, check the appropriate box on the registration form, enter –€40 on the line indicated, and subtract €40 from the total due. |
|
T1A — 2 hour hour tutorial 24 June 2008, 8:00 – 10:00 Making Digital Preservation Affordable: Values and Business Models Instructor: Simon Tanner, King’s College London | ||||||||||||||||||
|
Users and other stakeholders define the economic factors by which digital information is valued, used, and ultimately retained. In looking to finance digital preservation there are a number of different issues to consider, including business planning, risk management, possible revenue streams, and a clear cost/benefit relationship. This short course discusses strategic considerations related to the effective financing of digital preservation and offers a means of developing a cost/benefit justification to help secure the financial underpinning needed to make institutional digital preservation a realistic proposition.The course covers models for monetizing content; the role of public repositories; costs, business models, and OAIS; balancing costs with benefits and institutional mission; risks and consequences; and justifying and building a case for digital preservation. Benefits:
Intended Audience: Managers in the archive, library, and museum communities who work with digital preservation or on conservation strategies. Simon Tanner is the Director of King’s Digital Consultancy Services (KDCS) at King’s College London. KDCS provides research and consulting services specializing in the information and digital domain for the cultural, heritage, and information sectors. Tanner is also co-director of the Desmond Tutu Digital Archive project with two South African partner institutions. He is an independent member of the UK Legal Deposit Advisory Panel and chair of its Web Archiving sub-committee. He is also a member of the JISC Digitisation Advisory Group. Tanner authored the book Digital Futures: Strategies for the Information Age with Marilyn Deegan; they co-edited the book Digital Preservation. He leads the committee deciding how to digitize the complete Dead Sea Scrolls in Israel.
| ||||||||||||||||||
|
T1B — 2 hour hour tutorial 24 June 2008, 10:15 – 12:15 How to Save Audiovisual Archive Content by Digitisation—And then How to Save the Digits (in Archives Great and Small) Instructor: Richard Wright, BBC | ||||||||||||||||||
|
This course reviews audiovisual preservation/digitization projects across Europe, beginning with major broadcast archives, but also including the requirements and general possibilities for smaller collections. A particular issue is addressing the many audiovisual collections that are part of institutions that have little or no audio-visual technical expertise. Are these collections doomed? How can non-specialists get the information and the services—not to mention budgets—they need to preserve this material and make it accessible? Audiovisual archives are at the start of a revolution: Content hitherto inaccessible can now be put on YouTube; digital storage costs are 99% cheaper than 15 years ago; and there is a groundswell of support for public domain and Creative Commons repositories. Audiovisual “preservation and access” success stories is presented and the question of what happens after digitization—and a future roadmap for this material—is discussed. Benefits:
Intended Audience: Anyone responsible for collections that include audiovisual materials, or anyone interested in their preservation and related access issues. Richard Wright has been working on audiovisual preservation for the BBC since 1974. He headed the EC project Presto (2000-2002), which developed the idea of efficient broadcast archive digitization using a Preservation Factory. A group of European archives extended this work to all audiovisual collections in the PrestoSpace project (2003-2007). Wright’s “Preservation Guide” (wiki.prestospace.org) is the top result in Google when one searches for ‘audiovisual preservation’. His background is acoustics, speech, and signal processing research, and he holds a PhD from Southampton University.
| ||||||||||||||||||
|
T1C — 2 hour hour tutorial 24 June 2008, 13:45 – 15:45 Significant Properties and Their Role in Digital Preservation Instructor: Stephen Grace, Centre for e-Research; Neil Grindley, Joint Information Systems Committee; and Grant Young, The Technical Advisory Service for Images | ||||||||||||||||||
|
To enable digital images and other objects to remain both accessible and meaningful over time, it is critical to understand what aspects of them need to be preserved. Recent work in this area has looked at this issue using the concept of ‘significant properties,’ as well as a variety of digital object types, including raster images, vector images, moving images, structured text, audio, and software. Three significant properties of a vector graphic, for example, might include line width, opacity, and color, the primitives and associated attributes that may be described differently by different graphics systems (e.g., PDF/A, SVG 1.1, WebCGM 2.0). An organization with curatorial responsibility for digital objects cannot assert or demonstrate the continued authenticity of those objects over time, nor across transformation processes, unless it can identify, measure, and declare the specific properties on which that authenticity depends. Nor can it undertake the preservation actions required to maintain access to those objects unless it can characterize their current technical representations with sufficient detail. Confidence at the object level is also informed by the trust placed in the organization curating the files. The purpose of this course is to look at the nature and extent of recent work in the area of ‘significant properties;’ to give a more detailed view of the ongoing work being carried out by the InSPECT Project ; and to then consider the wider potential impact of this work on creators and users of digital images. Benefits:
Intended Audience: Image collection managers, digital repository managers, preservation practitioners, and digitization project staff Stephen Grace is Preservation Manager for the Centre for e-Research at King’s College London (CeRch), which builds on the success of AHDS in managing and advising on digital preservation. He leads activity on the long-term curation of digital materials, including active research projects on significant properties and building preservation services on existing institutional repositories. Grace has previously managed the digitization program in a national museum and been the project manager for a website featuring digitized materials from library, archive, and museum sources. Neil Grindley is the Digital Preservation Programme Manager at JISC (Joint Information Systems Committee), an organization that funds and supports technology-related projects and services for the UK Higher and Further Education sectors. The Digital Preservation Programme supports a number of projects, studies, and other initiatives, the overall objective of which is to raise awareness and increase the capacity of relevant communities to engage with digital preservation as part of a life-cycle management approach to the creation and exploitation of digital resources. Grindley previously worked on a program to promote the advanced use of ICT methods for research; prior to that he was involved with IT management and image cataloging and database work at the Courtauld Institute of Art. Grant Young is a Technical Research Officer with Technical Advisory Service for Images (TASI). TASI, a national JISC service, provides support for those creating, managing, using, and preserving multimedia resources. Grant has a background in library, archive, and digitization project management. In addition to his work with TASI, he is managing a project within the JISC’s Digitisation Programme.
| ||||||||||||||||||
|
T1D — 2 hour hour tutorial 24 June 2008, 16:00 – 18:00 A File Format for Archival of Relational Databases Instructor: Krystyna W. Ohnesorge, Swiss Federal Archives and Hartwig Thomas, Enter AG | ||||||||||||||||||
|
As central information about today’s administrative activities is often stored in databases, it is important to archive database content. The Swiss Federal Archives (SFA)—and other archives—are obliged to archive these types of administrative “documents” in a way that ensures accessibility of database content for at least 50 years. Unfortunately no standardized format exists for archiving database content over several decades. Although the concept of relational databases in the 1970s was based on the assumption that data have a longer life expectancy than software or hardware, only the query language SQL has been weakly standardized. Oracle table spaces, MS Access MDB-files, and most other database file formats are proprietary and therefore not suited for archival needs. SFA has developed a storage format for relational databases and SIARD software (software-independent archival of relational databases) for handling database content archived in this format. The SIARD format is an open format based on the standards SQL: 1999 and XML and therefore it is appropriate for archiving database content. This class explains how SIARD was developed and will be used by SFA beginning in the second quarter of 2008. The SIARD format contains all the base tables of the database and its meta data in XML files that are contained in a single ZIP file. The database metadata describing schemas, tables, columns, and other database content is discussed during the class, as is the structure of the SIARD XML file published by SFA and automatic verification abilities. The SIARD software permits examining database data, as well as loading archived data into a commercial database system. Practical examples of how this can be done and how SIARD is used by SFA is also presented in this class. Benefits:
Intended Audience: Archivists, librarians, project managers, and others concerned with long-term preservation of relational databases. Krystyna W. Ohnesorge, head of the “Unit Innovation and Preservation” of the Swiss Federal Archives, Bern (www.bar.admin.ch), received her PhD in lossless image compression at the University of Zurich. At SFA, her unit is responsible for record management, digital archiving, and preservation. The Unit is responsible for establishing and setting Federal Government standards—as well as advises government agencies—in these three areasHartwig Thomas, CEO Enter AG in Zurich (www.enterag.ch/hartwig/cv.html) is an implementer of SIARD 2.0. He received his PhD on image half-toning algorithms at the IBM Research Laboratory in Zurich.
| ||||||||||||||||||
|
T2A — 2 hour hour tutorial 24 June 2008, 8:00 – 12:15 Color Image Workflows and Architecture for Archiving Applications Instructor: Sabine Süsstrunk, Ecole Polytechnique Fédérale de Lausanne (EPFL) | ||||||||||||||||||
|
Images optimized for archiving, images optimized for viewing, and images optimized for printing usually do not contain the same digital values, nor should they. Depending on the intended usage of a digital image, its image state (color encoding, resolution, compression, processing, and rendering) needs to be adjusted. This course covers workflow—from image capture to visualization to archiving—and discusses the appropriate image parameters for each step. Benefits:
Intended Audience: Imaging managers and technicians in an image archive or library who are involved in the digitization, processing, and maintenance of digital images, and engineers who develop hardware and software applications for the archival community. Basic knowledge of digital imaging is assumed. Sabine Süsstrunk is Professor for Images and Visual Representation at the Ecole Polytechnique Fédérale de Lausanne (EPFL), Switzerland. Prior to that she was the principle imaging researcher for Corbis Corp. in Seattle, WA. Süsstrunk is a member of ISO TC42 WG18 and JWG20/22/23, the ISO committees defining digital photography and color imaging standards, and the director of CIE Division 8 (Imaging Technologies). She has lectured and published extensively in the area of color imaging, and is a consultant to museums, archives, and companies
| ||||||||||||||||||
|
T2B — 2 hour hour tutorial 24 June 2008, 13:45 – 15:45 Colour Display Holography Instructor: Hans I. Bjelkhagen, Centre for Modern Optics, North Wales | ||||||||||||||||||
|
While holography has been around since the first holograms were recorded in the mid-1960s, so far interest in using holography to display objects has been rather limited mainly because of the monochrome nature of the image. Recent development in improved imaging techniques and recording materials—the most important being the possibility of recording 3D images in full color—have caused an increased interest in display holograms. Color holographic imaging technology has many potential applications and markets. For example, 3D imaging can be used for the display of expensive or unique art pieces, museum artifacts, advertising, etc. The virtual color image behind a holographic plate represents the most realistic-looking image of an object that can be recorded today. The extensive field of view adds to the illusion of beholding a real object rather than an image of it. By choosing the optimum recording laser wavelengths within the spectrum, good color rendering can be achieved. It may sound strange, but color holography may become an important reproduction technique for 2-D objects, such as oil paintings, as well. Holographic reproductions provide extremely realistic-looking images, showing texture details such as brush strokes and the painter’s signature. In addition, holographic reproductions do not fade nor change color even if continuously on display. This fact is of importance from an archival point of view as well. This short course introduces attendees to this technology and its applications. Benefits:
Intended Audience: Curators, archivists, conservators, researchers, and those who work in the commercial and promotional side of museums and collections. Hans I. Bjelkhagen is Professor of Interferential Imaging Sciences at the North East Institute for Higher Education, Wrexham at the Centre for Modern Optics in North Wales. During the past 10 years, Bjelkhagen has been most recognized for his work in color holography, holographic recording materials, and Lippmann photography. At the Centre for Modern Optics, he conducts research on 3D imaging, color holography, color HOEs, holographic recording materials, and Lippmann photography. Bjelkhagen has recorded many holograms for museums, published more than 100 papers in refereed journals and conference proceedings, and holds nine international patents. His most important academic contribution is Silver-Halide Recording Materials for Holography and Their Processing, considered to be the standard textbook on the subject.
| ||||||||||||||||||
|
T2C — 2 hour hour tutorial 24 June 2008, 16:00 – 18:00 Image Science for the Archiving Community Instructor: Alan Hodgson, Alan Hodgson Consulting | ||||||||||||||||||
|
Image Science is a broad topic covering parameters that can be used to describe an image. This course gives a concise overview of what Image Science can offer the Archiving community. It is equally applicable to images in the digital or analog domain. It is therefore pertinent to any hard copy technology such as paint, traditional photo, or new recording media such as inkjet as well as digital images. The course covers issues such as image content, noise, tonal range, and digitization as a brief overview.The class also covers the image science considerations of digitization by whatever means, display, and any subsequent printing. The course is illustrated with case studies from printed and digitized images. Benefits:
Intended Audience: Intended to provide an overview of the topic to archivists, curators, conservators, and all those who have an interest in what makes an image, this course requires no previous knowledge of the topic. Although many works on this subject delve deep into the mathematics of the discipline, this class avoids all this by using visual imagery to describe and explain the topic. Alan Hodgson is an independent consultant based in the UK with more than 20 years experience in image science. A degree in Colorant Chemistry took him into the photographic industry and scientific imaging and inkjet printing. He currently works on projects involving imagery from astronomic to microscopic dimensions for a range of clients, including the Archiving community. Because of his wide technical background, Hodgson gives imaging issues a broader perspective with real examples. In addition to IS&T, he is active in the Royal Photographic Society and the Institute of Physics.
| ||||||||||||||||||
|
T3A — 4 hour hour tutorial 24 June 2008, 8:00 – 12:15 Contemporary Photography: Digital Prints Instructor: Franziska Frey, Rochester Institute of Technology, and Martin Jürgens, conservator | ||||||||||||||||||
|
This course focuses on the materials, identification, and stability of digital prints used by contemporary artists. The aim of the course is to provide attendees with the knowledge and tools needed to handle the issues surrounding the acquisition and preservation of prints made from digital files, as well as to provide an understanding for the trends in imaging technology and artists’ use of modern photographic printing techniques. Benefits:
Intended Audience: This course is intended for those in the archive, library, and museum communities who are creating, using, or preserving digital prints, and for technologists who want a better understanding of the issues surrounding digital prints in contemporary art collections. Franziska Frey, professor in the School of Print Media at Rochester Institute of Technology, received her PhD in Natural Sciences (Concentration: Imaging Science) from the Swiss Federal Institute of Technology in Zurich (1994). Before joining the faculty of the School of Print Media, she worked as a research scientist at the Image Permanence Institute at RIT. Frey publishes, consults, and teaches worldwide on various issues related to establishing digital image databases and digital libraries. She is also involved in several international standards groups dealing with Technical Metadata and Digital Photography and is a member of the IS&T Board of Directors. Martin Jürgens studied photography and design at the Technical University in Dortmund, Germany. He holds an MS from Rochester Institute of Technology and a Master of Art Conservation from Queen’s University in Kingston, specializing in paper conservation. Since 2001, he has been working as a photograph conservator in private practice in Hamburg, Germany. Jürgens areas of research and teaching include historic and contemporary photography, and the materials, chemistry, and preservation of digital prints.
| ||||||||||||||||||
|
T3B — 2 hour hour tutorial 24 June 2008, 13:45 – 15:45 Cancelled Digitizing Historical Negative CollectionsCancelled Instructor: Stephanie Ogeneski, National Anthropological Archives, Smithsonian Institution | ||||||||||||||||||
|
This class gives those working with historical negative collections a fundamental understanding of the relationship between analog and digital images, and explores the approaches to consider when embarking on a digitization project to ensure accuracy in reproduction. Participants are given an overview of the historical material and how that material is conceived, captured, and translated from analog to digital within a digital environment. Digital guidelines and tone reproduction are also discussed. Benefits:
Intended Audience: This course is designed for archivists, technicians, and anyone working with negative collections. Stephanie Ogeneski is a Digital Imaging Specialist at the National Anthropological Archives, Smithsonian Institution. Prior, she served as the manager of the digital imaging facility at the Chicago Albumen Works. She received a Certification in Photographic Preservation and Archival Practice from the George Eastman House and was the recipient of Academic Specialist Grants through the US Embassy of Mexico Cultural and Academic Exchange Program. She has taught at Indiana and Purdue Universities and Simon’s Rock College of Bard.
| ||||||||||||||||||
|
T4A — 4 hour hour tutorial 24 June 2008, 8:00 – 12:15 A Look Inside of the Portable Document Format (PDF) Instructor: Leonard Rosenthol, Adobe Systems, Inc. | ||||||||||||||||||
|
This course provides a peek inside the various aspects of the Portable Document Format (PDF) including such areas as fonts, graphics, color, interactive elements, and security. Special attention will be paid to the use of PDF for “long-term archival storage of digital documents,” as spelled out in ISO 19005 (PDF/A-1). Benefits:
Intended Audience: This course is suitable for anyone who currently works with or may work with PDF documents in the future. No prior knowledge of any specific area is assumed and everyone is welcome. Leonard Rosenthal has recently returned to Adobe Systems, Inc., as the PDF Standards Evangelist and a senior member of the Acrobat engineering staff. He returns to Adobe following almost 10 years of involvement in the PDF world having worked as the Director of Software Development for Appligent, the Chief Innovation Officer for Apago, and running the successful consulting business of PDF Sages.
| ||||||||||||||||||
|
T4B — 4 hour hour tutorial 24 June 2008, 13:45 – 18:00 JPEG 2000 and Other Formats for Image Preservation Instructor: Robert Buckley, Xerox Corporation | ||||||||||||||||||
|
This class begins with an introduction to commonly used digital image formats and image compression methods. This lays the groundwork for discussing and comparing formats for image preservation, with an emphasis on TIFF and JPEG 2000. TIFF is typically used to store uncompressed images; JPEG 2000 is a still image compression standard based on wavelet technology. JPEG 2000 is attractive for image preservation and access because it can handle a wide range of applications, including gigabyte and high-dynamic range images, spectral imaging, digital cinema, and on-line image collections. This course explains the key parts of the JPEG2000 standard, explores its features, demonstrates its capabilities, and discusses who is using it and why. Benefits:
Intended Audience: This course is intended for those in the archive, library, and museum communities who work with images and image collections and who want to understand the tradeoffs between different image formats, what JPEG2000 has to offer, and how their archiving application may benefit from it. Robert Buckley is a Research Fellow with the Xerox Innovation Group in Webster, NY. He is the Xerox representative on the US JPEG 2000 committee and was the Project Editor for Part 6 of the JPEG2000 standard, which defines the JPEG2000 file format for compound and document images. He was also the lead author for TIFF-FX, the IETF standard file format for Internet fax, and currently chairs the CIE Technical Committee on Archival Color Imaging. Buckley is President of the Inter-Society Color Council and an IS&T Fellow and member of the Board. He is the Xerox Principal in the JPEG 2000 Collaboration with the Library of Congress and is the author of the DPC Technology Watch Report on JPEG 2000.
| ||||||||||||||||||
|
T5A — 4 hour hour tutorial 24 June 2008, :00 – 12:15 Evaluating Digital Scanner &?Camera Imaging Performance Instructor: Peter Burns, Carestream Health, Inc., and Don Williams, consultant | ||||||||||||||||||
|
Many of today’s standards for characterizing imaging performance are based on image science principles. We begin by introducing this perspective and then describe its application to scanner and digital camera performance in an archiving environment. These standards and accompanying tools help the user control tone reproduction and evaluate manufacturers’ claims of resolution, dynamic range, and noise. We then identify several common image artifacts associated with digital image capture. Through examples, we describe how performance parameters can be monitored by summary measures acquired automatically as part of a quality assurance process. Benefits:
Intended Audience: Managers, engineers, and technicians charged with evaluating and monitoring scanner performance and understanding how performance metrics connect to other imaging system components, such as display, print, and processing. Peter Burns works on image evaluation, modeling, and image processing for medical imaging systems at Carestream Health, Inc. He previously worked for Eastman Kodak Company and Xerox Corporation. Burns has taught imaging courses for many years, as an adjunct faculty member at RIT, at Kodak, and at previous Archiving conferenc. Donald Williams, a consultant formerly with Kodak Research Laboratories, focuses on quantitative performance metrics for digital capture imaging devices and imaging fidelity issues for the cultural heritage community. He has taught short courses for many years and contributes to several imaging standards activities.
| ||||||||||||||||||
|
T5B — 4 hour hour tutorial 24 June 2008, 13:45 – 18:00 Scanner & Camera Imaging Performance Workshop Instructor: Peter Burns, Carestream Health, Inc., and Don Williams, consultant | ||||||||||||||||||
|
This workshop, new for 2008, is aimed at those interested in the practical application of imaging performance evaluation and control for collections. Following a brief review of current practice and standard methods, the course addresses several common problems faced by those providing imaging services, or seeking to improve image content. In each of the cases addressed, the selection and development of test plans, performance measurements, and simple analysis are discussed. Attendees have the opportunity to perform evaluations using analysis software provided, illustrating the uses and limitations for the methods described. This workshop complements T5A: Evaluating Digital Scanner and Camera Imaging Performance, but is also useful to those who do not attend the course or who have attended the course in the past. Benefits:
Intended Audience: Managers, engineers, and technicians interested in evaluating and monitoring scanner and camera performance. A general knowledge of digital scanner and camera operation will be assumed. Peter Burns works on image evaluation, modeling, and image processing for medical imaging systems at Carestream Health, Inc. He previously worked for Eastman Kodak Company and Xerox Corporation. Burns has taught imaging courses for many years, as an adjunct faculty member at RIT, at Kodak, and at previous Archiving conferenc. Donald Williams, a consultant formerly with Kodak Research Laboratories, focuses on quantitative performance metrics for digital capture imaging devices and imaging fidelity issues for the cultural heritage community. He has taught short courses for many years and contributes to several imaging standards activities.
| ||||||||||||||||||
To report a website error, please contact webmaster@imaging.org
For all other questions E-mail:archiving@imaging.org
IS&T, 7003 Kilworth Lane, Springfield, VA 22151
Phone: 703-642-9090; Fax: 703-642-9094;
© 2007-8 The Society for Imaging Science and Technology