Syllabus

Special Topics in Information Science:

Audiovisuals: An Introduction to Vintage Sound Recordings

and Moving Images

School of Information Studies, University of Wisconsin-Milwaukee

Online Course SOIS 691/PDI 103

October 10 – November 13, 2011

Instructor: Paul Eisloeffel, audiovisualarchivist, Lincoln, Nebraska

Phone:402.730.9735

E-mail:

Required Texts

There are no required texts for this course. Readings will come from both professional and popular sources, as detailed in the remainder of this syllabus. Students will also be supplied with a list of pertinent websites to use for further research.

Course Description

Vintage sound recordings and moving images – in all their various forms – are frequently found in the collections of archival repositories, libraries and museums. Yet the presence of these machine-dependant documents often confounds the information professional, collection manager or curator more at home with paper-based items, published materials and artifacts. This course will introduce students to the world of audiovisual materials, their history and nature, and archival and curatorial issues associated with them. We will also briefly explore the role digitization can play in the lives of these unique resources. Through the study of these topics, students will:

  • Recognize the value of audiovisual items as historic and cultural resources resources.
  • Learn the basic history and science behind sound recordings and moving images.
  • Understand the physical properties of sound recordings and moving images.
  • Develop a knowledge of preservation issues surrounding audiovisual materials, and how best to deal with them.
  • Understand how audiovisuals fit into fundamental curatorial functions, such as collection, description and access.
  • Gain a working knowledge of the process of digitizing audiovisuals.
  • Become familiar with web-based presentations of audiovisual documents.
  • Develop an awareness of resources and organizations that can help with audiovisuals.

Course Outline

Week 1: October 10-16

Introduction to Audiovisuals

  • Class introductions
  • Definitions
  • The nature of audiovisuals
  • Audiovisuals in archives, libraries and museums

Week 2: October 17-23

Sound Recordings

  • The science and history of sound recordings
  • Physical characteristics
  • Preservation issues

Week 3: October 24-30

Moving Images

  • The science and history of moving images
  • Physical characteristics
  • Preservation issues

Week 4: October 31 – November 6

Curatorial Issues

  • Appraisal
  • Acquisition
  • Description
  • Access and use

Week 5: November 7-13

Digitization of audiovisuals

  • Practice
  • Results
  • Repercussions
Course Requirements and Policies

Attendance and Participation: Course attendance is measured through participation in all discussion forums and through evidence of completing the readings and written assignments. Introductory lectures and core reading assignments given in advance of discussions are designed to facilitate active participation by providing a basic level of familiarity with each week’s topic. Topic weeks run from Monday through Sunday.

Students are expected to participate in all discussion threads, as assigned each week on the syllabus. Although personal concerns may arise that cause students to participate at varying levels each week, any student who misses more than two weeks will not pass the course; you “miss” a week when you do not post any discussion during an entire week (Monday through Sunday) without contacting the instructor to request an excused absence. Late postings (after Midnight Sunday) do not count toward a particular week’s discussion. For a thorough description of standards for course participation, please see Guidelines for Participation in the Content section of the D2L site.

Participation by Students with Disabilities: It is UWM policy that no student will be discriminated against because of race, color, creed, religion, sex, sexual orientation, national origin, disability, ancestry, age, pregnancy, marital or parental status, political affiliation or belief, arrest or conviction records or disabled veteran or Vietnam era veteran status. It is expected that mutual respect will be practiced in this course with regard to these factors as well as with regard to issues of academic freedom. It is the goal of the course that everyone feels comfortable in fully participating in all discussions. Anyone needing special accommodations in order to meet any of the requirements of this course, please contact the instructor as soon as possible.

Plagiarism: In accordance with University policy (see the appropriate part of the Graduate Student and FacultyHandbook), plagiarism in assignments, exams, or other course contributions will not be tolerated. This includes uncited cutting and pasting from Internet resources. Evidence of plagiarismwill be handled within the guidelines of Student Academic Disciplinary Procedures of the Wisconsin Administrative Code ( If you are unsure about the definition of plagiarism, see the UWM Libraries tutorial at

For other UWM policies applicable to this course, please see the UWM Academic Policies: An Appendix to SOIS Syllabiat

Course activity: Assignments and Grading

Topic weeks run from Tuesday through Monday. There are two key elements to this course

NOTE: Students taking the course through the PDI will not be graded unless arranged with the instructor. However, their participation, especially in the weekly discussions, is encouraged.

Lecture and Readings Discussions: Exploration of each week’s topics will begin with a written lecture (posted by the instructor), accompanied by selected readings. The readings have been selected to reflect a representation of both classic and current professional literature and other more general and popular sources pertaining to audiovisual materials. The lecture will reflect on the topics of the week and briefly introduce the readings and suggest issues to ponder and questions to address in each one. This will jump-start the discussion for the week, which will occur through threaded postings.

Because this is an online forum, participation is an extremely important aspect of the course. Please review the Course Participation Guidelines in the Content section of the D2L site. Comments should be insightful and add to the discussion rather than merely chatty. Waiting until the end of the week of the topic week to post comments is discouraged – pace yourself throughout the week. Responses to other students’ comments is encouraged. Participation in this aspect of the course will be included in the area ofAttendance and Participation as noted above. Five weeks, 12 points each (60% of total grade). Due dates: Postings for a given week’s topic(s) are due by the end of that week’s activity: by the end of Sunday of each week. Postings after midnight will be considered late and will count toward participation.

Student Website “Pick of the Week”: For each of the five weeks, each student will seek out and choose an audiovisual-related website that relates to the topic of that week. These may come from the list of websites supplied by the instructor, or be of the student’s own finding. Students will provide a review of the website in a written report of between 400 and 600 words (that’s up to 2pages, double-spaced). These are informal, reflective writings, and may include such aspects as the student’s opinion of practical matters of use and navigation, value of information presented, and any issues the student may bring forth reflecting her or his own interests or experience. Commenting on another students’ “Picks of the Week” is optional, but can yield up to two points of extra credit per week. Five assignments, 8 points each (40% of total grade). Due dates: October 16, October 23, October 30, November 6 and November 13. Picks of the Week turned in after midnight of these due dates will be lowered by five points per day.

These reviews must be submitted in electronic form into the weekly“Pick of the Week” sections of the Discussions page. This way, it will be viewable to all students as well as the instructor.

Grading: This course is graded according to the following scale:

Category / Points / Percentage
Lecture and Reading Discussions(Five weeks, 12 points per week) / 60 / 60%
Student Website “Pick of the Week” Report (5 assignments, 8 points each) / 40 / 40%
TOTAL / 100 / 100%
Extra credit (discussion of other students’ Pick of the Week) / Up to 10 points / Additional 10%

Point Scale:

100 – 95 = A

94 – 90 = A-

89 – 87 = B+

86 – 83 = B

82 – 80 = B-

79 – 77 = C+

76 – 73 = C

72 – 70 = C-

69 – 67 = D+

66 – 63 = D

62 – 60 = D-

NOTE: Students taking the course through the PDI will not be graded unless arranged with the instructor. However, their participation, especially in the weekly discussions, is encouraged.

Course Schedule and Details

Week #1: MondayOctober 10 – SundayOctober 16

Introduction to audiovisuals: Definitions; the nature of audiovisuals; audiovisuals in archives,libraries and museums

Readings:

  • Edmundson, Ray. Audiovisual Archiving: Philosophy and Principles, 2nd ed. Paris: UNESCO, 2004. Sections 3.3–4.5 (pp. 21–41) and Appendix 2 (p. 70). unesdoc.unesco.org/images/0013/001364/136477e.pdf.
  • Eisloeffel, Paul, ed., Time-Line of Common Sound Recording Formats and Time-Line of Common Film and Video Formats. Lincoln, Nebraska: NebraskaState Historical Society, 2004. (PDFs available in course website Content section)
  • A Public Trust at Risk: The Heritage Health Index Report on the State of America’s Collections. Washington, DC: Heritage Preservation, Inc., 2005. Chapter 4: “Conditions of Collections.” (pp. 27-32, 38-41).
  • Greene, Steve. “Chasing Technology: The Challenge of Preserving Audiovisual Records.” Prologue, Vol. 39 No. 2, Summer 2007. Washington, DC: National Archives and Records Administration, 2007.

Assignments:

  • Class member introductions
  • Discussion on lecture and readings
  • Student “Pick of the Week” report

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Week #2: MondayOctober 17 – SundayOctober 23

Sound recordings: Science and history; physical characteristics; preservation issues

Readings:

  • Brain, Marshall. How Analog and Digital Recording Works. Atlanta, GA: How Stuff Works, 1998–2007. communication.howstuffworks.com/analog-digital.htm.
  • St-Laurent, Gilles. The Care and Handling of Recorded Sound Materials. Ottawa, Ontario, Canada: National Library of Canada, 1996. Start on Page 10, “Preservation of Sound Recordings.”
  • Stielow, Frederick J. The Management of Oral History Sound Archives. Westport, CT: Greenwood Press, 1986. Chapter 2: “Toward a Theory of Sound Archives,” 11–33. (PDF available in course website Content section)
  • Wong, Kathleen M. “Rescuing Recorded Sound from Silence,” in ScienceMatters@Berkeley, Vol. 4, No. 30. Berkeley, California: College of Letters and Science, 2007.

Assignments:

  • Discussion on lecture and readings
  • Student “Pick of the Week” report

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Week #3: MondayOctober 24 – SundayOctober 30

Moving Images: Science and history; physical characteristics; preservation issues

Readings:

  • National Film Preservation Foundation. The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, Chapter 2: “Understanding Film and How it Decays,” pp. 6-18. San Francisco, California: National Form Preservation Foundation, 2004.
  • Munday, Rod. Visual Perception 8: The Motion Picture (lecture), 2008.
  • IowaStateUniversity Motion Picture Services. Threading the 16mm Projector, c. 1950
  • Jimenez, Mona, et al. Videotape Identification and Assessment Guide. Chapters 2-4 (pp. 36-48) Austin, TX: Texas Commission on the Arts, 2004.
  • Lindner, Jim. “Magnetic Tape Deterioration: Tidal Wave at Our Shores,” c. 1996.

Assignments:

  • Discussion on lecture and readings
  • Student “Pick of the Week” report

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Week #4: Monday October 31 – Sunday November 6

Curatorialissues: Appraisal, acquisition, description, access and use

Readings:

  • Harrison, Helen P. Audiovisual Archives: A Practical Reader, Section 4.2: “Selection and Audiovisual Collections.” Paris, France: UNESCO, 1997.
  • Schwartz, Eric, et al. Depositing Film with Archives: A Guide to the Legal Issues. Supporting Document D, Public-Private Cooperation Task Force, National Film Preservation Board, 1994, 1–10 (to “Mechanics of the transfer”).
  • MacKay, Nancy. Curating Oral Histories: From Interview to Archive.Walnut Creek, California: LeftCoast Press, 2007. Chapter 3: “Legal and Ethical Issues,” pp. 33-40. (PDF available in course website Content section)
  • Council on Library and Information Resources and the Library of Congress. The State of Recorded Sound Preservation in the United States: A National Legacy at Risk in the Digital Age. Washington, DC: Council on Library and Information Resources, 2010. Chapter 4: “Preservation, Access and Copyright: A Tangled Web,” Conclusion, pp. 133-137, and Appendix C: “Obstacles to Access and Preservation of Recorded Sound,” pp. 156-164.
  • Independent Media Arts Preservation. Cataloging Project. Bronx, New York: Independent Media Arts Preservation, 2009.

Assignments:

  • Discussion on lecture and readings
  • Student “Pick of the Week” report

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Week #5: Monday November 7 – Sunday November 13

Digitization of audiovisuals: Practice, results, repercussions

  • Schriebbman, Susan, ed. Best Practice Guidelines for Digital Collections at the University of Maryland Libraries, 2nd ed. draft. College Park, MD: Office of Digital Collections and Research, University of Maryland, May 2007. Chapter 9: “Digital Audio and Moving Images,” 36–42, and Appendix VIII: “Additional Audio Project Planning Tools,” 67–69.
  • Humanities Advanced Technology and Information Institute (HATII), University of Glasgow; National Initiative for a Networked Cultural Heritage (NINCH). The NINCH Guide to Good Practice in the Digital Representation and Management of Cultural Heritage Materials. Washington, DC: The National Initiative for a Networked Cultural Heritage, 2002. Chapter VII: “Audio/Video Capture and Management.”
  • Reagan, Brad. “The Digital Ice Age.” Popular Mechanics, 2007.
  • Oshkosh in Motion virtual exhibit. Oshkosh, Wisconsin: University of Oshkosh-Wisconsin and OshkoshPublicMuseum, 2002.

Assignments:

  • Discussion on lecture and readings
  • Student “Pick of the Week” report

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