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 Author Deadlines
  Submissions Due 5 April
  Paper Notification 30 April
  Final Manuscripts Due
28 May
 Program Deadlines
  Registration Opens
  Short Courses Begin
8 June
  Technical Program Begins

Confirmed Exhibitors

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Cooperating Societies

Opportunities to Learn

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Online Program: At-a-Glance

June 8-18: Short Courses

  • 14 courses offered over 9 days scheduled from 10:00 – 15:00 New York/16:00 – 21:00 Paris
  • More days, but fewer hours/day, allow you to participate and attend to other work and personal responsibilities.
  • All courses held live; recordings of live sessions available until 30 September 2021.
  • No conflicts between short courses. No more than two offered per day. 
  • Short Course Passport and All-Access Passport registration options offer huge savings.

June 21-24: Technical Program, Exhibit, and Virtual Behind-the-Scenes Tours

  • All talks  presented live, with real-time text commenting and live Q&A; recordings of live sessions available until 30 September 2021
  • Expanded across more days, but fewer hours/day, to allow you to participate while attending to other work and personal responsibilities. Technical programs are scheduled within 10:00 – 14:00 EDT/16:00 – 20:00 CET.
  • Online exhibition allows you to engage with vendors throughout the program.
  • Virtual Behind-the-Scenes Tours gives you access to workflows, collections, and colleagues.

Archiving 2021 Technical Program

Monday 21 June 2021

10:00 – 11:00
Digitization Generates Innovation: Creating Thoughtful Experiences through Challenging Times
Jane Alexander, Cleveland Museum of Art (United States) Speaker Bio

The unique circumstances of the past year provided an opportunity for the CMA to think innovatively, releasing transformative toolsets that propelled our collection to multiple new audiences; CMA’s collection reached more visitors during 2020 than ever before. CMA charged itself to think differently, creating inspiring and relevant online experiences ranging from apps using AI, AR, open access, and live dashboards to a multiplicity of video series and virtual events.

This keynote explores how these achievements were made possible by the CMA's dedication to digitization; open access; investments in the museum’s integrated and flexible back-end, API driven systems; and commitment to data-driven decision-making.

11:00 – 11:30

11:30 – 12:35
Vessel: A Cultural Heritage Game for Entertainment
Blake Bissell, Mo Morris, Emily Shaffer, Michael Tetzlaff, and Seth Berrier, University of Wisconsin–Stout (US)

Interactive Paper Preview: The Sustainable Development of Taiwan's Sport and Athletic Culture via Digital Archives
Yung-Cheng Hsieh Hsieh, National Taiwan University of Arts (Taiwan)

Interactive Paper Preview: Memoriaali – An Online Platform for Digital Reception and Enrichment of Archived Materials
Siiri Simpanen, Muisti Centre of War and Peace (Finland); Anssi Jääskeläinen, South-Eastern Finland University of Applied Sciences (Finland); Kati Saltiola, Mikkeli Development Miksei Ltd (Finland); and Mika Kokkonen, Elka Central Archives for Finnish Business Records (Finland)

Layering Historical Maps and Census Data for Interactive Visualizations in HistoryForge
Claire Lovell, South Central Library Regional Council, and Robert Kibbee, The History Center in Tompkins County (US)


12:35 – 13:00

13:00 – 13:45

Preliminary Proposal of a Metric for Assessing and Improving the Impact of Open-access Heritage Collections on Wikipedia
Irene Iriarte Carretero and Scott Orr, UCL (UK)

Creating a Self-contained Interactive Experience using USDZ
William Geffert, The Metropolitan Museum of Art (US)

Closing Remarks

14:00 – 15:00
Option I: Photographic Services, George Eastman Museum (GEM)
Option II: RIT’s Munsell Color Science Laboratory


Tuesday 22 June 2021

10:00 – 11:25
(10:00 – 11:00) Option I: Outsourcing and Partnering: Cultural Heritage Preservation and Digitization Vendor Perspective (Arkhênum with American Battle Monument Commission)
(10:00 – 11:25) Fraunhofer IGD – CultArm3D: Autonomous and color-faithful 3D digitization

11:30 – 12:30

Enhancing Library Metadata with IIIF-based Crowdsourced Transcription in Digital Scholarly Editions
Ben Brumfield, FromThePage (US)

Digitizing Conservation: Developing Data Models for Preservation Data
Ryan Lieu, Stanford Libraries (US)

Addressing the Challenges of Interoperability and Cultural Heritage Data
Andrew Forsberg and Fenella France, Library of Congress (US)

12:30 – 13:00

13:00 – 14:30

Interactive Paper Preview: Technical and Scientific Imaging for Archaeological Purpose – A Brazilian Case
Alexandre Leão, Alexandre Costa, and Luiz Souza, Universidade Federal de Minas Gerais (Brazil)

Interactive Paper Preview: EN 17650 – The New Standard for Digital Preservation of Cinematographic Works
Siegfried Foessel and Heiko Sparenberg, Fraunhofer IIS (Germany)

Interactive Paper Preview: Emulation of Historical Software as a Tool for Research and Pedagogy: A Case Study in the History of CAD
Daniel Cardoso Llach, Carnegie Mellon University, and Eric Kaltman, California State University Channel Islands (US)

Spectral Imaging Method for Transmissive Media
David Wyble, Avian Rochester, LLC (US)

A Practitioner's Guide to Fringe Projection Profilometry
Snehal Padhye, David Messinger, and James Ferwerda, Rochester Institute of Technology (US)

Predicting Camera Color Quality
Roy Berns (US)

Closing Remarks


Wednesday 23 June 2021

10:00 – 11:00
Operation Night Watch: Imaging the Rembrandts' Masterpiece inside the Gallery of Honor of the Rijksmuseum
Katrien Keune, Rijksmuseum (the Netherlands) Speaker bio

Operation Night Watch is the largest research and conservation project that Rembrandt's masterpiece "The Night Watch" (1642, oil on canvas, h 378.4 x w 453 cm) has ever undergone. In summer 2019, the Rijksmuseum embarked on this multi-year project with the goal to thoroughly study the condition and painting technique, and to determine the best treatment plan for the large canvas painting. Inside the gallery and in full view of the visiting public, the latest and most advanced technology is used to examine the painting. The non-invasive imaging technologies that have been employed include macro X-Ray fluorescence, macro X-Ray powder diffraction, reflectance imaging spectroscopy, optical coherence tomography, high-resolution photography, and 3D scanning. The multi-disciplinary team of Operation Night Watch includes scientists, conservators, and art historians, all working alongside each other on the acquisition and interpretation of the research data.


11:00 – 11:30

11:30 – 12:35

Color Accuracy-guided Data Reduction for Practical LED-based Multispectral Imaging
Olivia Kuzio and Susan Farnand, Rochester Institute of Technology (US)

Surface Metrology and Data Science/Analytics Applied to Modern Asian Lacquer Surfaces
Patrick Ravines, Buffalo State College (US); H. Sheets, Canisius College (US); and Marianne Webb, Webb Conservation Services (Canada)

Interactive Paper Preview: The Digital South Caucasus Collection: An International Digital Library Project
Jasmine Smith, New York University (US)

Interactive Paper Preview: Mass Digitization and Access during the Pandemic
Christine Huhn, University of California, Berkeley Library (US)

Interactive Paper Preview: A Year in Review of Making Virtual Tours
Elizabeth Chiang, George Eastman Museum (US)

Interactive Paper Preview: Visualizing for Different Audiences: Various Views
Fenella France, Andrew Forsberg, Andrew Davis, and Hadley Johnson, Library of Congress (US)

12:35 – 13:20

13:20 – 13:50

Thinking Outside the Color Profiling Capture Box
Don Williams, Image Science Associates, and Peter Burns, Burns Digital Imaging (US)

Closing Remarks

14:00 – 15:30
(14:00 – 15:00) Option I: Colourlab: The Norwegian Colour and Visual Computing Laboratory
(14:00 – 15:30) Library of Congress (LOC) New Digitization Center


Thursday 24 June 2021

10:00 – 11:00
The Restoration of Early Sound Recordings using Optical Metrology and Image Analysis
Carl Haber, Lawrence Berkeley National Laboratory (United States) Speaker Bio

Sound was first recorded and reproduced by Thomas Edison in 1877. Until about 1950, when magnetic tape use became common, most recordings were made on mechanical media such as wax, foil, shellac, lacquer, and plastic. Many recordings contain material of great historical interest, but may be in obsolete formats, and are damaged, decaying, or are now considered too delicate to play. Unlike print and latent image scanning, the playback of mechanical sound carriers has been inherently invasive. More recently, techniques based upon non-contact optical metrology and data analysis, have been applied to create and analyze high resolution digital images, and to restore the audio content, of these materials. This keynote discusses the characteristics of early sound recordings and the use of imaging-based technology as applied to a number of notable collections. A variety of recent developments including machine learning, high speed photography, and multi-color imaging are considered. The technology and restoration of historic audio recordings is illustrated with sounds and images. Additional information:

11:00 – 11:30

11:30 – 12:30
Mobilizing Materiality: The Role of Digitisation in the Preservation of and Access to Berenice Abbott's Acetate Negatives
Laura Ramsey and Charlene Heath, Ryerson Image Centre (Canada)

Issues of Fidelity and Authenticity in Digital Restoration of Black and White Films
Marek Jicha, Faculty of Philosophy and Science of Silesian University in Opava (Czechia)

Nitrate Negatives and Silver Mirroring
Thomas O'Connell, Northwestern University (US)

12:30 – 13:00

13:00 – 14:00
Data Operations and an Application for Translating Russian Speech to French Text
Steven Simske, Colorado State University, and Marie Vans, HP Inc. (US)

Evaluation of Text Legibility in Microfiche Digitization
Hilda Deborah and Dipendra Mandal, Norwegian University of Science and Technology (Norway)

Digital Archiving of Civil War Graffiti for Research & Access
Andrea Loewenwarter, City of Fairfax; Margaret Misch, Brandy Station Foundation; Kristin Jacobsen and Mills Kelly, George Mason University; and Michael Toth, R.B. Toth Associates LLC (US)

14:00 – 15:00
Online Concert and Closing Reception (BYOB!)

Keynote Talks

JANE ALEXANDER, Cleveland Museum of Art

Digitization Generates Innovation: Creating Thoughtful Experiences through Challenging Times

  Jane Alexander is the chief digital information officer for The Cleveland Museum of Art (CMA), where she is responsible for creating awe-inspiring and iterative digital projects supporting a vision of innovation, technology implementation, and digital transformation that exemplify the CMA's mission. Drawing from a background in architecture and applied mathematics, Jane has led the CMA’s comprehensive Open Access initiative, among other projects, and many iterations of ARTLENS Gallery (originally Gallery One). This world renowned, innovative experience uses cutting-edge technology to inspire visitors to look closer, dive deeper, and connect with the museum's encyclopedic collection. Currently, she is leading the development of Revealing Krishna, an immersive mixed-reality exhibition opening in 2021, where technology is used alongside exceptional Cambodian artworks, to tell the story of these objects and their restoration. This will be the first scholarly exhibition of its kind.
KATRIEN KEUNE, Rijksmuseum

Operation Night Watch: Imaging Rembrandt's Masterpiece inside the Gallery of Honor of the Rijksmuseum

Dr. Katrien Keune is head of Science at the Rijksmuseum in Amsterdam, Netherlands. The Science department focuses on three research themes: non-invasive imaging techniques, degradation studies, and preventive conservation. Dr. Keune also holds an appointment as associate professor of Chemistry at the University of Amsterdam. Her group is specialized in chemical processes in heterogenous complex paint materials. At the Rijksmuseum, she leads the scientific research of Operation Night Watch, the largest research project on Rembrandt's masterpiece.
CARL HABER, Lawrence Berkeley National Laboratory

The Restoration of Early Sound Recordings using Optical Metrology and Image Analysis

Dr. Carl Haber is an experimental physicist and senior scientist in the Physics Division of Lawrence Berkeley National Laboratory at the University of California. His career has focused on the development of instrumentation and methods for detecting and measuring particles created at high-energy colliders. He has played a leading role in the American project to upgrade the ATLAS experiment's silicon strip tracking system for the High Luminosity Large Hadron Collider. Since 2002 he has been involved in aspects of preservation science, applying methods of precision optical metrology and data analysis to early recorded sound restoration. He is a 2013 MacArthur Fellow and a Fellow of the American Physical Society and the John Simon Guggenheim Memorial Foundation.

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