SURVEY OF THE COLLECTIONS OF THE AUDIO Web viewThe National Library of Jamaica (NLJ) is the focal point of the Jamaica Libraries and Information Network ... (67%) stored their digital

SURVEY OF THE COLLECTIONS OF THE AUDIO-VISUAL NETWORK

Yulande Lindsay, Coordinator10/18/2012

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%


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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%


3. If applicable, indicate which type of videocassette you have in your collection.

Umatic 2 29%VHS 7 100%Other 0 0%


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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5. If applicable, indicate which type of phonodisc you have in your collection.

LPs 2 100%45s 1 50%Other 0 0%


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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4. Condition of collections – Mini-DVs



5. Condition of collections – Phonodiscs (Vinyl)

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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



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7. Condition of collections – Audiocassettes



8. Conditions of collections – CDs



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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%


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%


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%


4. How can your catalogue be consulted?

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On site 4 67%Through the internet 2 33%Other 0 0%


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%


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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Documents

SURVEY OF THE COLLECTIONS OF THE AUDIO Web viewThe National Library of Jamaica (NLJ) is the focal point of the Jamaica Libraries and Information Network ... (67%) stored their digital