Education and Training
NEWS: Independent Media Arts Preservation
invites you to Contemplating Templates: A Roundtable of Cataloging Solutions for Media Assets on December 10th, 2015 at the Fales Library and Special Collections, Bobst Library, New York University, 70 Washington Square South - 3rd floor.
• Reassessing IMAP's Cataloging Template - Athena Christa Holbrook, Museum of Modern Art
• Introducing AVCC Inventory Tool - Joshua Ranger, AVPreserve
• Introducing Binder: Tool for Managing Digital Preservation Metadata - Ben Fino-Radin, Museum of Modern Art
MORE RSVP via email
or call Mariela Galarza at 718-960-8577 by Monday December 7th
The IMAP Introduction to Media Preservation Workshop
This workshop is aimed at arts and cultural organizations that are relatively new to the field of moving image preservation and conservation. It provides elementary training to media groups and media-makers interested in saving their collections. In addition to being an excellent opportunity to connect with other groups encountering similar challenges, the workshop also allows members of the independent media communities to interact with professional preservation organizations, bringing the concerns of independents to the field of electronic media preservation. Topics covered include the characteristics of material (audiotape/videotape, digital/optical media, and film), associated risks and their solutions, and strategies for collection management.
While generally a half-day workshop, Introduction to Media Preservation can be expanded to fill an entire day (broken into two sessions). The full-day workshop covers the material in greater depth and includes a demonstration of the IMAP Cataloging Template.
The following documents are distributed at the IMAP Introduction
to Media Preservation workshop and may also be downloaded as PDFs
(requires Adobe Acrobat
Online Resource List:
This document contains a list of useful web sites, preservation guides, assessment tools, and preservation case studies.
This document serves as an overview of current best-practice policies for video preservation, including documentation, inspection, conservation, and migration.
One of the most daunting tasks involved in starting a video preservation project can be the selection of a vendor. The following questionnaire was prepared by Chris Lacinak to help you organize the information you will need to select and develop a successful relationship with a vendor.
Although preparing the budget for a videotape preservation project can be daunting, the costs are actually determined by a relatively small number of variables. This document will guide you through those variables.
Basic Condition Report:
This document, created for this website by Independent Media Arts Preservation (IMAP) records basic information about physical condition of a videotape.
Independent Media Arts Preservation presents Archiving the Arts, a symposium and public program on June 13, 2015 in collaboration with Burchfield Penney Art Center in Buffalo, NY
Independent Media Arts Preservation (IMAP) celebrates the launch of its new web resource Archiving the Arts and the recent publication of The Emergence of Video Processing Tools (eds., Kathy High, Mona Jimenez, Sherry Miller Hocking) with a symposium and public program on June 13, 2015 at Burchfield Penney Arts Center (BPAC), SUNY Buffalo State.
IMAP public program Dachau 1974: Conservation in
Collaboration with the Artist
December 11, 2014
New York University. MORE
Digital Preservation for Audio and Digital Preservation for Video
June 26: Digital Preservation for Audio
June 27: Digital Preservation for Video
Time: 10 AM – 4 PM
Atlanta History Center
130 West Paces Ferry Rd NW
Atlanta, GA 30305
DIGITAL PRESERVATION FOR AUDIO (Full day)
Many library and archival collections contain a wide array of audio materials, ranging from early discs to many varieties of audiotape and audiocassettes. All are now faced with the increasing rarity of playback equipment and the expertise needed to maintain it. Moreover, magnetic media is especially prone to physical degradation over time—degradation that can be very difficult to detect until a tape is played back. CDs are also subject to degradation and decay.
Today, the only viable means of long-term audio preservation is digitization—but the process of digitizing audio material can be complicated and requires a series of critical choices. This workshop is aimed at artists, archivists, and librarians who are tasked with the care of audio materials in their collections, with the goal of helping them make good choices for their preservation
DIGITAL PRESERVATION FOR VIDEO (Full day)
If content on analog videotape is to survive for the long term, the tapes must be digitized--moved from the unstable magnetic media on which the content is currently held, into the digital realm where--in theory--they can be preserved indefinitely and migrated forward as files rather than physical objects. Digitization, however, means more than simply selecting a destination file format. It requires a series of decisions that will determine the long-term viability of files created--and thus of the valuable video content.
The full workshop details MORE (PDF)
Making Sense of a Media Collection
May 3, 2013 10am – 5pm
Richard B. Russell Building Special Collections Libraries
300 S. Hull Street Athens, Georgia 30602 - MORE
This daylong workshop will demystify audiovisual media collections, giving archivists a nuts-and-bolts, practical overview of the issues facing audio and moving image materials.
Independent Media Arts Preservation and The Society Of Georgia Archivists
Archiving the Arts: addressing preservation in the creative process
Digital Preservation for Video
Saturday, October 13, 2012
9 AM - 5 PM
Iris & B. Gerald Cantor Film Center
36 East 8th Street | between University Place &Greene Street
The Bernie Brillstein Theatre, 1st Floor, Room 101
Harnessing the enthusiasm of members of the Association of Moving Image Archivists Student Chapter at NYU (AMIA @ NYU) and Independent Media Arts Preservation (IMAP), Archiving the Arts unlocks dialog concerning preventive preservation, the creative process, and where the two concepts intersect. Unlike corporate or policy--based content, independent media art evolves and is often born from fleeting processes, creative approaches, and undocumented methods. Its unique development deserves to be addressed by both its makers and those who fight for its welfare after creation. Our priority is straddling an antiquated divide. Instead of finite responsibilities dictated by title, archivists and artists must learn to work collaboratively in the changing independent media environment. Join us on October 13 as we bridge the gap!
All registration, program, and location information is available at:
June 8, 2012, 9 AM – 5 PM
George Washington University - MORE
Sarah Stauderman, Collections Care Manager, Smithsonian Institution Archives
Jeff Martin, Executive Director, IMAP
Buffalo, New York
June 15, 2012, 9 AM – 5 PM
Kara Van Malssen, AudioVisual Preservation Solutions
If content on analog videotape is to survive for the long term, the tapes must be digitized--moved from the unstable magnetic media on which the content is currently held, into the
digital realm where--in theory--they can be preserved indefinitely and migrated forward as files rather than physical objects. Digitization, however, means more than simply selecting a destination file format. It requires a series of decisions that will determine the long-term viability of files created--and thus of the valuable video content. Workshop topics include: basic digital file creation, preservation and access file formats and codecs, software, storage and trusted digital repositories, workflows for digitization, and technical and preservation metadata. In addition, participants will examine case studies of small and large-scale digitization projects in order to understand real-world applications of principles introduced in the workshop.
Digital Preservation for Videotape (co-sponsored with New England Archivists)Friday March 23, 2012
9:00 a.m. - 5:00 p.m.
Middletown, Connecticut - MORE
Instructor: Kara Van Malssen, Independent Media Arts Preservation
Workshop Description: If content on analog videotape is to survive for the long term, the tapes must be digitized - moved from the unstable magnetic media on which the content is currently held, into the digital realm where - in theory - they can be preserved indefinitely and migrated forward as files rather than physical objects. Digitization, however, means more than simply selecting a destination file format. It requires a series of decisions that will determine the long-term viability of files created - and thus of the valuable video content.
New England Archivists
Yale University Library Manuscripts and Archives
Fortunoff Video Archive for Holocaust Testimonies
Olin Library - Wesleyan University
Watkinson Library - Trinity College
Weissman Preservation Center - Harvard Library
New Curriculum and Workshop on Digital Preservation for Video
December 3, 2010
Franklin Furnace, Brooklyn, NY - MORE
New Curriculum and Workshop on Digital Preservation for Video
Wednesday, November 10, 2010
9:30 a.m. – 4:00 p.m.
The Museum of Fine Arts, Houston - MORE
Cosponsored by Aurora Picture Show, Houston Cinema Arts Society, The Menil Collection, The Museum of Fine Arts, Houston, and Southwest Alternate Media Project
If content on analog videotape is to survive for the long term, the tapes must be digitized‐‐ moved from the unstable magnetic media on which the content is currently held, into the digital realm where‐‐in theory‐‐they can be preserved indefinitely and migrated forward as files rather than physical objects. Digitization, however, means more than simply selecting a destination file format. It requires a series of decisions that will determine the long‐term viability of files created‐‐and thus of the valuable video content. Workshop topics include: basic digital file creation, preservation and access file formats and codecs, software, storage and trusted digital repositories, workflows for digitization, and technical and preservation metadata. In addition, participants will examine case studies of small and large‐scale digitization projects in order to understand real‐world applications of principles introduced in the workshop.
Modern Mondays with artist John Gerrard
Monday, October 25, 2010
The Museum of Modern Art, New York - MORE
As part of Modern Mondays at MoMA, Irish‐born artist John Gerrard presents his recent work in real‐time 3D. His digital landscapes are recognizable—pig farm, oil derrick, grain silo, and dust storm. Meanwhile the processes and implications are ambiguous. As day passes into night, actions occur, but a particular moment remains frozen in time. His work lies somewhere between documentary and fiction, consisting of images that are constantly developing and regenerating, but seem eternal. The underlying tension comes from Gerrard’s moral discomfort with humankind’s abuse of the environment.
Videotape Preservation Workshop
Friday, October 15, 2010
1 p.m. – 4:00 p.m.
Film Studies Center, University of Chicago - MORE
When videotape was introduced in 1956, the magnetic recording of a TV signal was a technological marvel. More than five decades (and 60 analog and digital formats) later, videotapes have recorded historic events, served as a means of artistic expression, and become priceless personal documents. Unfortunately, videotape has proven to be an unstable medium, and its recorded images will eventually require careful attention and well-planned action in order to survive. This half-day workshop will serve as an introduction to the issues and strategies necessary to tackle the challenges of videotape preservation. Designed to meet the needs of those with or without technical experience in video production, this workshop is geared to media makers and arts professionals, archivists, conservators, artists and other caretakers of media collections. The workshop will cover videotape's development and evolution, the basics of magnetic recording technology, formats, mitigation of deterioration, risk assessment, handling and inspection, preservation planning, best practices for storage, reformatting, and digitization.
Workshop on Digital Preservation for Video
June 7, 2010 10am-4pm
San Francisco, CA - MORE
Hosted by Bay Area Video Coalition, this new workshop provides participants with strategies and decision-making tools to move unstable magnetic media into the digital realm. Instructor Linda Tadic will cover topics such as basic digital file creation, preservation and access file formats and codecs, software, storage and trusted digital repositories, workflows for digitization, and technical and preservation metadata.
IMAP workshop on Copyright and Digital Project Planning
February 26, 2010
ICP 1144 Ave of Americas, NY, NY
"Long Live the Media ....... Help!"
May 25, 2009
SMAK in Ghent, Belgium
(English translation version)
Introduction To Media Preservation Workshops
ICP-Intro to Media Preservation June 12, 2009 MORE
International Center of Photography January 23, 2009 MORE
PS 1/MOMA, March 4, 2008
The Bronx Museum of the Arts, April 11, 2008
NYU June 16, 2007
BRIC Studio, Brooklyn, NY, June 15, 2007
This workshop served as an introduction to the issues and Strategies needed to tackle the challenges of videotape preservation. Designed to meet the needs of those with or without technical experience in video production, this workshop was geared to media makers and arts professionals, archivists, conservators, artists and other caretakers of media collections.
Instructor: Jeff Martin
A graduate of New York University's MA program in Moving Image Preservation, Jeff Martin has been working with archival moving images for more than a decade, as a television producer, researcher, and archivist. He has taught workshops in media preservation in Chicago under the auspices of Midwest
Media Archives Alliance and developed the content for IMAP's new online preservation resource guide (http://www.eai.org/resourceguide/preservation). He is presently a Fellow at the Smithsonian Institution's Hirshhorn Museum and Sculpture Garden, assessing their media collections.
The IMAP Electronic Media Preservation Symposium was held on September 29, 2007 in Rochester, New York. The IMAP Symposium was a day-long event comprised of an introductory lecture, four panel discussions and an evening screening of preserved videotapes. For complete program: MORE
Transcripts for symposium now available:
Introduction MORE (pdf)
Documentation MORE (pdf)
Conservation 1 MORE (pdf)
Conservation 2 MORE (pdf)
New York Preservation History MORE (pdf)
October 2002 Seattle, WA IMAP organized an Introduction
to Media Preservation workshop to precede the National Alliance
for Media Arts and Culture (NAMAC) conference Pull Focus, Pushing
Forward: Media Arts Connecting Culture and Community. This full-day
workshop, cosponsored by NAMAC and 911 Media Arts Center, provided
an in-depth introduction to media preservation, including a demonstration
of the IMAP Cataloging Template. Participants included both NAMAC
conference attendees and representatives of local media arts organizations.
November 2001 Portland, OR Organized by
IMAP and cosponsored by the Northwest Film Center, this workshop
included representatives of arts and cultural organizations, such
as KYUK-TV and the National Museum of the American Indian.
October 2001 Houston, TX This workshop,
organized by IMAP and cosponsored by the Museum of Fine Arts, Houston,
included representatives from the Texas Commission on the Arts,
the University of Texas, San Antonio, Southwest Alternate Media
Project (SWAMP), Cozmoziz, Baylor College, and the Menil Collection.
May 2001 Dallas, TX Organized by IMAP and
cosponsored by the Video Association of Dallas, this workshop included
representatives from KERA-TV, LeCroy Center for Educational Telecommunications
at Dallas Community College, and Media Projects (a group of independent
November 2000 Los Angeles, CA Organized
by IMAP and co-presented by a representative from Bay Area Video
Coalition (BAVC), this workshop was cosponsored by and held at Visual
Communications in Los Angeles. Among those in attendance were representatives
from the National Asian American Telecommunications Association
(NAATA), the Japanese American National Museum, and The Jewish Museum
Workshop Handouts (2000-2002):
The following documents are distributed at the IMAP Introduction
to Media Preservation workshop and may also be downloaded as PDFs
(requires Adobe Acrobat
Conservation: This document proposes conservation practices
for archival audiovisual materials held in general or primarily
paper-based special collections. The sections give an overview of
the most frequently encountered audiovisual formats (film, video,
magnetic audio, mechanical audio, and optical media), preservation
and conservation issues relating to these formats, and recommended
conservation practices to assist these materials longevity.
Written by Linda Tadic.
Media Chart: A succinct chart listing the characteristics of film, video, and
optical/digital media, along with their associated problems and
potential solutions. Each medium is broken down by most common formats.
Some of the problems addressed are sticky shed syndrome, nitrate
deterioration, and damage from use. Written by Mona Jimenez.
Resources: From listservs to preservation information to
funding sources, this document offers Internet links (and street
addresses, when available) for some of the key organizations in
magnetic media preservation. In addition to the direct links, a
brief synopsis of the focus and strength of each organizations
web site is included.
Vendors: This nationwide list focuses on vendors who are experienced in archival
audiovisual material transference. The list is broken down by video,
film-to-video transfer, film laboratories, and archival supplies.
Specific services or products are noted for each vendor.
Cataloging is only one part of an overall plan to care for and preserve an electronic media collection. IMAP provides three methods of Cataloging Training: workshops, one-on-one or small group sessions, and an online tutorial and quiz.
Workshops offer an introduction to both the IMAP Cataloging Template and to media preservation in general. These presentations generally last two days and are most appropriate for representatives of several organizations. (See Introduction to Media Preservation Workshop).
Workshop costs are negotiated by IMAP and the sponsoring organizations.
Contact IMAP for more
One-on-one or Small Group Training
IMAP also provides one-on-one training in cataloging and in the use of the IMAP Cataloging Template. These are half-day sessions with no more than three people, with appropriate follow-up to ensure that participants understand the principles of cataloging and are fully implementing the IMAP Cataloging Template.
IMAP first made this training available in 1999 when consultant
Jim Hubbard provided assistance to The
Tiger Television, and Visual
Additionally, IMAP may be able to assist you on site with one or more of the following:
- Installation of the IMAP Template
- Training staff to use the Template (one to three people per session)
- Intensive, ongoing technical support on site or via e-mail or telephone
- Development of an overall preservation plan
- Consultation on such issues as collection management and storage
Contact us at firstname.lastname@example.org for more information about these services.
Online Cataloging Tutorial and Quiz
The third method of Cataloging Training is available through this web site. The IMAP Tutorial introduces and explains each field in the Cataloging Template, and the Quiz indicates how well you have understood and retained the information. The Quick Reference Guide provides easy access to definitions and explanations of the fields, while the Sample Records show examples of completely cataloged items in all layouts of the Template. The Complete Record is hot-linked to the Quick Reference Guide to provide instant explanations of each of the fields. The FAQs offer additional information about cataloging in general and the IMAP Cataloging Template in particular. A Glossary is also available to help familiarize you with common terms associated with cataloging media collections.
On Friday, May 1, 2009
IMAP Preservation Symposium: From Legacy to Frontier
Guggenheim Museum in New York MORE
Saturday, September 29, 2007
IMAP Electronic Media Preservation Symposium
Association of Moving Image Archivists (AMIA) annual conference
Theater on the Ridge, KODAK
Rochester, New York
Organized by Independent Media Arts Preservation (IMAP), Electronic Arts Intermix (EAI), and the AMIA Independent Media Interest Group, the IMAP Electronic Media Preservation Symposium was a day-long event comprised of an introductory lecture, three panel discussions, and an evening screening of preserved single-channel videotapes. Panels drew on the expertise of a network of professionals involved in the electronic media field and focused on the collection, documentation, preservation, and exhibition of single-channel, installation, and computer-based art. Throughout the Symposium, the documentation and research tools that have been developed by IMAP in the past few years were shared, including the newly launched EAI Online Resource Guide for Exhibiting, Collecting & Preserving Media Art (http://resourceguide.eai.org) and the IMAP Cataloging Template.
The IMAP Electronic Media Preservation Symposium has been made possible by support from the New York State Council on the Arts, the Gladys Krieble Delmas Foundation and the Experimental Television Center.
On December 3, 2005 IMAP participated in the 2005 AMIA Conference by
sponsoring two panels :
Saving Video Art and Performance Documentation from Itself
Hosted by: Independent Media Interest Group/Independent Media Arts Preservation
Chair: Sarah Ziebell - New York Public Library for the Performing Arts
Speakers: Stephen Vitiello - Kinetic Imaging, School of the Arts, Virginia Commonwealth
Mona Jimenez - MIAP Program, New York University
Jeff Martin - New York University
Heather Weaver - Bay Area Video Coalition
Access to and scholarship about vintage video art, live performance and technology-based
installation art depends upon innovative documentation and preservation. Confounding
those concerned with ensuring the longevity of media-based artwork are problems
of video format diversity and the inimitability of technological instruments
favored by many artists. Although seemingly contradictory, these problems often
lead to the same end for the performance recording and video art places: inaccessibility.
We will address challenges encountered in and strategies for preserving and
documenting live performance recordings and video art. Artist Stephen Vitiello
will provide insight into the creative and curatorial process. Sarah Ziebell
Mann will discuss format obsolescence as it relates to a collection of archival
moving image and sound materials documenting the work of internationally renowned
intermedia pioneer Robert M. Wilson. Preservation strategies will be addressed
by BAVC’s Heather Weaver. Mona Jimenez will discuss her research in documenting
and describing instruments, electronic and digital machines, and other technological
objects developed by or for artists. Jeff Martin will relate the results of
IMAP Video Equipment Registry Feasibility Study. We invite audience members
who are interested in or working to preserve interactive media art and technologically-oriented
performance art to attend.
Building DAMS and MAMS for Better Access: Customized Management Tools
for Museums and Media Archives
Hosted by: Independent Media Arts Preservation (IMAP)
Chair: Andrew Ingall - The Jewish Museum
Carl Goodman - American Museum of the Moving Image
Seth Kaufman - Whirl-i-gig
Mark Shepard – dotsperinch
External advances in digital technology and institutional initiatives to increase
public access to collections have prompted museums and archives to choose custom-designed
asset management tools over standardized, off-the-shelf software. Archivists,
curators and information architects will address the various stages of the design
process: RFP’s; schematic designs; technical specifications; user testing;
encoding; and final reviews. Panelists in various stages of media asset management
systems development will discuss the benefits and risks of investing in custom-designed
media asset management systems. All repositories planning on implementing custom
built or turn-key media asset management solutions as well as archivists interested
in all aspects of database design, description, and collection management will
find this session of interest. Key questions to be discussed include: What criteria
should museums and archives use to select an appropriate designer? and How can
designers and clients optimize their working relationships?
On June 12, 2005 IMAP co-sponsored a panel discussion with the Electronic
Media Interest Group of the AIC at the AIC conference in Minneapolis.
Archiving the Avant Garde: Documenting Downtown New York Performance
Three lower Manhattan cultural organizations and repositories will give demonstrations
of innovative solutions and databases they have developed to address the unique
challenges of documenting downtown and digital art.
Fales Library and Special Collections, New York University
Ann Butler, Archivist, New York University [abstract]
Franklin Furnace Archive
Michael Katchen, Senior Archivist, Franklin Furnace Archive
Francis Hwang, Director of Technology, Rhizome.org [abstract]
RELATED LINKS: EMG 2005 Presentation Abstracts
June 2004 - Portland Oregon Through generous support from the Rockefeller Foundation, IMAP collaborated with the American Institute for Conservation of Historic and Artistic Works' Electronic Media Group (AIC-f) to underwrite and electronically post presentations from the Annual Meeting in Portland, Oregon on June 13-14, 2004.
Electronic Media Group's program, supported by a grant from the National Center for Preservation Technology, addresses progress being made in the many preservation challenges posed by technology-driven cultural materials. Participants presented case studies and other current methods applied for the purpose of extending the life of electronic art, multimedia, audiovisual materials, computer and video games, as well as other interactive works and environments.
Highlights of these presentations include:
- Results of the use of emulation in the preservation of electronic works in danger of loss due to technology obsolescence
- Collecting, documenting, and maintaining electronic equipment as cultural artifacts and tools of artists and other innovators
- Case studies from InterPARES 2, an international research initiative focused on works produced in experiential, dynamic, and interactive environments
- Development of standards of care in electronic art conservation
- Use of cutting-edge technology to overcome obstacles in playback of historic audio formats
IMAP was pleased to be able to facilitate and disseminate this innovative research from leading practitioners in the field. All the presentation papers are available here for downloading.
October 2829, 2002 Anchorage, AK Voices & Images of Alaska: Sharing the Knowledge, Sharing the Tools, a two-day conference organized by the Alaska Moving Image Preservation Association (AMIPA) and cosponsored by IMAP, was dedicated to preservation strategies for Alaskas culturally and historically valuable film, video, and audio collections. Discussions and presentations focused on preservation priorities, physical assessment, storage and handling, and cataloging.
May 31June 1, 2002 New York, NY Looking
Back, Looking Forward, a symposium organized by the Experimental
Television Center (ETC) in association with IMAP, Bay Area Video
Coalition, and the Electronic Media Specialty Group of the AIC (American
Institute for the Conservation of Artistic and Historic Works) with
independent consultant Mona Jimenez, addressed issues at the heart
of electronic media preservation. Artists, media arts professionals,
conservators, and technical experts brought their considerable expertise
to the physical preservation of independent electronic media. Participants
from throughout the United States and Canada discussed options for
quality remastering, as well as hardware and software issues related
to preservation. In addition to the working groups, activities included
a demonstration of the IMAP Template. For documentation of the symposium
and related papers, visit the Experimental
Television Center's Video History Project web site or download
a PDF version of the transcript (requires
Adobe Acrobat Reader). Also available for download are two preservation
worksheets created by Sarah Stauderman and distributed at the conference:
Priority Worksheet for Videotape Collections .
IMAP collaborated with the Fales Library at NYU in presenting the "SIGNAL LOSS: SAVING DOWNTOWN VIDEO" panel held at NYU on April 4, 2008
As part of the Symposium "Moving/Images: Preserving Downtown Time-Based Works, this panel's participants were: Moderator: Ann Butler, Senior Archivist, Fales Library and Panelists Rebecca Cleman, EAI; video artist Jaime Davidovich, NYU Cinema Studies Professor Chris Straayer, and media preservationist Sarah Ziebell. The transcript for this panel is available HERE.
Preserving the Future: Innovative Strategies for Saving New Media
Wednesday, June 6, 2007
IMAP offered an overview of the current state of the media preservation field. This panel followed the launch of the comprehensive
web resource, the EAI Online Resource Guide for Exhibiting, Collecting & Preserving Media Art (http://www.eai.org/resourceguide), for which IMAP created the Preservation section (http://www.eai.org/resourceguide/preservation).
(For complete details download PDF)
On April 29, 2004 the Archivists Round Table of Metropolitan New York, Inc.
co-sponsored a program with IMAP, NYU and EAI.
IMAP AND MIAP: Mapping Moving Image Preservation into the Future
Beyond being a collection of acronyms, this month's Archivists Round
Table of Metropolitan New York's meeting will introduce two innovative
organizations addressing the challenges of moving image and digital preservation:
Independent Media Arts Preservation (IMAP) and New York University's new
Moving Image Archiving and Preservation program (MIAP).
Independent Media Arts Preservation was founded in 1999 by a group of committed
media archivists, curators, producers and distributors concerned that professional
organizations were not addressing the unique issues and limited resources involved
in preserving the work of independent media organizations and artists. Primarily
a virtual entity, IMAP collects and provides preservation resources, education
and training towards documenting and saving the nation's alternative cultural
At this meeting, IMAP will launch its newly reconstituted website containing
extensive multimedia preservation information, resources and vendor listings,
facilitated by presenter Liss Platt. Jim Hubbard
will demonstrate IMAP's Cataloging Template and Tutorial, a Filemaker
Pro and Access, MARC-compatible cataloging system designed for smaller collections
of film, videotape and audio resources.
Mona Jimenez and Howard Besser will talk about New York University’s newly-created Moving Image Archiving and Preservation graduate program.
November 2003 Vancouver, B.C., Canada In
conjunction with Independent Media Interest Group, IMAP organized
a special one-day panel discussion and screening entitled Producing,
Collecting, and Presenting Moving Images of Indigenous Peoples:
A Dialogue for the Association of Moving Image Archivists (AMIA)
June 2003 New York IMAP and Electronic
Arts Intermix cohosted the New York premiere of Bay Area Video Coalitions
preservation DVD entitled PLAYBACK: Preserving Analog Video.
Joanna Goldfarb of BAVC introduced and demonstrated the interactive
DVD, which provides an overview of technical practices of video
preservation and tracks the complex decision-making process of artists,
conservators, and engineers who reconstruct video artwork. This
event included the screening of the 2003 restored version of Ant
Farm and T. R. Uthcos The Eternal Frame, which
is used as a case study in PLAYBACK: Preserving Analog Video.
November 2002 Boston IMAP board member
Kenneth Schlesinger chaired the panel A Disaster Not Waiting
to Happen: Downtown Media Revisits Preservation After September11th
at the Association of Moving Image Archivists (AMIA) annual
conference. The panel was hosted by AMIAs Independent Media
September 2002 New York IMAP participated
in Media Alliance of New York States "Info Fair"
held at the National Museum of the American Indian. Jim Hubbard
demonstrated the IMAP Cataloging Template at the Fair.
April 2002 New York TechArchaeology
Reformatted Organized by IMAP Director Dara Meyers-Kingsley
and sponsored by IMAP, ArtTable Inc., and The American Institute
for Conservation of Historic and Artistic Works (AIC), this forum
followed up on the findings of TechArchaeology: A Symposium on
Installation Art Preservation (January 2000 San Francisco),
which reviewed the development of conservation practices for technology-based
installation art. Panelists included Dara Birnbaum, artist; Christopher
Eamon, curator; Mona Jimenez, artist and media arts consultant;
and Barbara London, Associate Curator, Video, MOMA. Paul Messier,
Conservator of Photographs and Works on Paper, Boston Art Conservation,
moderated the discussion. Some of the key issues addressed included
concepts of what constitutes the "core" of an artwork;
what can be modified in an installation without compromising its
integrity; questions around documentation to ensure accurate re-stagings;
and the role of the artists in ensuring the faithful exhibition
of their work in the future.
JanuaryFebruary 2002 Independent Media Arts Preservation Salon, an online salon hosted by NAMAC and moderated by IMAP representatives Jim Hubbard and Mona Jimenez, featured weekly online panel discussions of topics such as collection management strategies, reformatting issues, and more. The panel included representatives from Experimental Television Center, International Center for 8mm Film, The Kitchen, and Bay Area Video Coalition (BAVC).
November 2001 New York, NY IMAP organized
a panel discussion in conjunction with The MixNew York
Experimental Gay and Lesbian Film and Video Festival focusing
on preservation for film and video artists.
November 2001 Portland, OR Mona Jimenez,
representing IMAP, chaired the conference panel Democracy in
Action: Works from Community Media Centers at the Association
of Moving Image Archivists (AMIA) conference. At the same conference,
Jim Hubbard, also representing IMAP, participated in the panel on
the Moving Image Gateway Project.
October 2001 Houston, TX IMAP was among
the presenters at the Texas Media Arts Conference sponsored by Southwest
Alternate Media Project (SWAMP). The IMAP Preservation Roundtable
provided basic information on electronic media preservation.
March 2001 New York, NY Mona Jimenez represented
IMAP as a panelist and respondent at Preserving the Immaterial:
A Conference on Variable Media at the Guggenheim Museum.
January 2001 New York, NY Ann Butler organized
and moderated an IMAP-sponsored program hosted by the Guggenheim
Museum. Presenter Jon Ippolito from the Guggenheim discussed the
"variable media initiative" as well as the upcoming conference
Preserving the Immaterial. Jim Lindner of Vidipax presented
his "Medialess Archive" concept.
November 2000 Los Angeles, CA IMAP was
one of the organizers for the Association of Moving Image Archivists
(AMIA) annual conference Beyond Hollywood: Preserving Independent
Media for the 21st Century.
October 2000 Minneapolis, MN IMAP hosted
a Preservation Roundtable during the National Alliance for Media
Arts and Culture (NAMAC) conference Changing Media/Mediating
January 1999 New York, NY Dara Meyers-Kingsley,
independent curator and current Director of IMAP, co-organized a
roundtable discussion with ArtTable entitled Buying Time: Collecting
Video. The event focused on issues that arise when selling,
collecting, and preserving video and installation art. Presenters
included artists, collectors, distributors, gallery owners, and
a PDF version of the ArtTable transcript (requires Adobe