<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE>Document View</TITLE><BASE
href=http://proquest.umi.com/pqdweb?index=2&sid=2&srchmode=3&vinst=PROD&fmt=3&startpage=-1&clientid=17867&vname=PQD&RQT=309&did=667273701&ts=1137974892&vtype=PQD&aid=1&rqt=309&TS=1137975051&clientId=17867>
<META http-equiv=Content-Type content="text/html; charset=ISO-8859-1"><LINK
href="/html/en/pq5.css" type=text/css rel=stylesheet>
<SCRIPT language=JavaScript1.2 src="/js/retrieve.js"></SCRIPT>
<SCRIPT language=JavaScript src="/js/wave.js" type=text/javascript></SCRIPT>
<LINK href="/html/en/pq5.css" type=text/css rel=stylesheet>
<SCRIPT language=JavaScript1.2 type=text/javascript>
//*********************
// Generic stuff
// - could live in a "generic.js" file but everybody already includes banner.js
// - still a ways to go (NS6/DOM for ex.) but it's a start
// - specific MENU STUFF at bottom of file
//*********************
// Hmmm - client side v srvr/hgen vars - the latter probably more efficient....
BR_DOM = (document.getElementById) ? true : false;
BR_NS4 = (document.layers) ? true : false;
BR_IE = (document.all) ? true : false;
BR_IE4 = BR_IE && !BR_DOM;
BR_Mac = (navigator.appVersion.indexOf("Mac") != -1);
BR_IE4M = BR_IE4 && BR_Mac;
BR_NS6 = BR_DOM && !BR_IE;
// Following vars are intended to make life generic betw. NS and IE. If we need to
// break this down further we may be better off having independent .js includes for each.
var szSty = BR_IE ? ".style" : "";
var szHide = BR_IE ? "hidden" : "hide";
var szShow = BR_IE ? "visible" : "show";
var szObjPref = BR_IE ? "" : "document.";
// Global vars
var nTimerID;
var nStdDelay = 10;
// -----------------------------
// NS4 DHTML resize fix
// -----------------------------
if (BR_NS4)
{
nCurWidth = innerWidth;
nCurHeight = innerHeight;
onresize = doReload;
//alert("resize handler installed");
}
function doReload()
{
if (innerWidth != nCurWidth || innerHeight != nCurHeight)
{
//alert("reload");
location.reload();
}
}
// End of the big fix
function timerClear()
{
clearTimeout(nTimerID);
}
function timerOff(szObj, nMs)
{
var szTmp="toggleVis('" + szObj + "',0)";
//alert(szTmp);
if (nMs)
nTimerID = setTimeout(szTmp, nMs);
else
nTimerID = setTimeout(szTmp, 50);
}
function helpWindow(helpUrl)
{
// alert("helpUrl ["+helpUrl+"]");
var handle = window.open(helpUrl, "pqhelp", "resizable=yes,height=520,width=500,top=0,left=75,scrollbars=yes,location=no,menubar=no,toolbar=yes");
handle.focus();
}
function profileExternalWindow(extUrl) {
// alert("extUrl [" + extUrl + "]");
var handle = window.open(extUrl, "PQprofileExt", "location,scrollbars,resizable,width=550,height=450");
handle.focus();
}
function getw()
{
var w;
if((navigator.appName == "Netscape")&&(navigator.userAgent.indexOf("4.") != -1))
{
w = window.innerWidth;
}
else if((navigator.appName== "Microsoft Internet Explorer")&&(navigator.userAgent.indexOf("4.") != -1))
{
w = document.body.clientWidth;
}
else
{
w=1 ;
}
return w;
}
function geth()
{
var h;
if((navigator.appName == "Netscape")&&(navigator.userAgent.indexOf("4.") != -1))
{
h = window.innerHeight;
}
else if ((navigator.appName== "Microsoft Internet Explorer")&&(navigator.userAgent.indexOf("4.") != -1))
{
h = document.body.clientHeight;
}
else
{
h=1;
}
return h;
}
function getx()
{
var xMax;
if((navigator.appName == "Netscape")&&(navigator.userAgent.indexOf("4.") != -1))
{
xMax=screen.width;
}
else if((navigator.appName== "Microsoft Internet Explorer")&&(navigator.userAgent.indexOf("4.") != -1))
{
xMax=screen.width;
}
else
{
xMax=1;
}
return xMax;
}
function gety()
{
var yMax;
if((navigator.appName == "Netscape")&&(navigator.userAgent.indexOf("4.") != -1))
{
yMax=screen.height;
}
else if((navigator.appName== "Microsoft Internet Explorer")&&(navigator.userAgent.indexOf("4.") != -1))
{
yMax=screen.height;
}
else
{
yMax=1;
}
return yMax;
}
</SCRIPT>
<SCRIPT language=JavaScript1.2 src="/code/dyn-help.js"
type=text/javascript></SCRIPT>
<META content="MSHTML 6.00.2900.2802" name=GENERATOR></HEAD>
<BODY bgColor=#ffffff><B>From:</B> Library
[library@email.sjsu.edu]<BR><B>Sent:</B> Sunday, January 22, 2006 4:12
PM<BR><B>To:</B> hgladney@pacbell.net<BR><B>Subject:</B> Document View
Wright<BR>
<DIV> </DIV><A name=top>
<SCRIPT language=javascript>
function setMarkedListCookie(){
document.cookie="mlpage=" + escape("no");
}
</SCRIPT>
<SCRIPT language=JavaScript1.2 src="/js/overlib.js"></SCRIPT>
<DIV id=overDiv
style="Z-INDEX: 1000; VISIBILITY: hidden; POSITION: absolute"></DIV>
<SCRIPT language=Javascript1.2>
<!--
function checkMarkedList() {
mcookie = null;
mcookie = getMarkedListCookie();
if (mcookie != null) {
if (mcookie == "no") {
return overlib("View your documents, searches, and visited publications.");
}
}
}
function chooseLang() {
var origLocation = "/pqdweb?index=2&TS=1137975051&sid=2&srchmode=3&vinst=PROD&fmt=3&startpage=-1&clientid=17867&vname=PQD&RQT=309&did=667273701&ts=1137974892&vtype=PQD&aid=1&clientId=17867&rqt=309";
var newLocation = origLocation;
if(origLocation.match(/RQT=305/i) || origLocation.match(/RQT=512/i)) {
newLocation = "/pqdweb?sid=0&firstIndex=0&RQT=511&TS=1137975064&clientId=17867";
}
if(origLocation.match(/RQT=535/i)) {
newLocation = "/pqdweb?RQT=534&TS=1137975064&clientId=17867";
}
if(newLocation.match(/lang=/))
{
newLocation = newLocation.replace(/lang=(.*)/, "lang=" + document.languageForm.lang.options[document.languageForm.lang.selectedIndex].value);
}
else
{
newLocation = newLocation + "&" + "lang" + "=" + document.languageForm.lang.options[document.languageForm.lang.selectedIndex].value;
}
window.location = newLocation;
}
var M_SEARCH = 0,
M_ADVANCED = 1,
M_PUB = 2,
M_MARKED_LEFT = 3,
M_MARKED = 4,
M_MARKED_RIGHT = 5,
M_RESULTS = 6,
M_TOPIC = 7;
var arrList = new Array("basic", "advanced", "pubsearch" , "research_left", "research", "research_right", "results", "topic");
//toggle images on omouseover and onmouseout
function doBut(nItem, bOn)
{
var szId = arrList[nItem];
var szBut = szId + "But";
obj = eval("document."+szBut);
if (typeof (obj) == "undefined")
return;
if (bOn)
{
if (nItem == M_MARKED_LEFT || nItem == M_MARKED_RIGHT) {
obj.src = "/images/common/nav_" + szId + "_on.gif";
}else{
obj.src = "/images/en/nav_" + szId + "_on.gif";
}
mouseOverButton = nItem;
}
else
{
if (nItem != nCurMenu)
if (nItem == M_MARKED_LEFT || nItem == M_MARKED_RIGHT) {
obj.src = "/images/common/nav_" + szId + "_off.gif";
}else{
obj.src = "/images/en/nav_" + szId + "_off.gif";
}
mouseOverButton = -1;
}
return;
}
function encodeUriComponent(str) {
var re = /\s/g;
str = str.replace(re, "%20");
var re = /\"/g;
str = str.replace(re, """);
re = /\#/g;
str = str.replace(re, "%23");
re = /&/g;
str = str.replace(re, "%26");
re = /\//g;
str = str.replace(re, "%2F");
re = /:/g;
str = str.replace(re, "%3A");
return str;
}
function chooseDB(element,lastSrchMode, prevIndex) {
var origLocation = window.location.href;
// alert("origLocation [" + origLocation + "]");
var newLocation = origLocation;
var xsq = "";
var savingParams = 0;
if(origLocation.match(/RQT=305/i) || origLocation.match(/RQT=512/i)) {
newLocation = "/pqdweb?sid=0&firstIndex=0&RQT=511&TS=1137975064&clientId=17867";
}
// if there was no ?, we need to add one
if(!(origLocation.match(/\?/)))
{
newLocation = origLocation + "?RQT=306&TS=1137975064";
}
var internalLocation = "/pqdweb";
var qs = "index=2&sid=2&srchmode=3&vinst=PROD&fmt=3&startpage=-1&clientid=17867&vname=PQD&RQT=309&did=667273701&ts=1137974892&vtype=PQD&aid=1&rqt=309&TS=1137975051&clientId=17867";
if ( qs != "" ) {
internalLocation = internalLocation + "?" + qs;
}
if ( internalLocation.match(/RQT=301/i) ||
internalLocation.match(/RQT=302/i) ||
internalLocation.match(/RQT=304/i) ||
internalLocation.match(/RQT=504/i) ) {
switch ( lastSrchMode ) {
case 2:
newLocation = internalLocation.replace(/RQT=\d+/i, "RQT=403");
break;
case 1:
default:
newLocation = internalLocation.replace(/RQT=\d+/i, "RQT=306");
break;
}
newLocation = newLocation.replace(/UserId=([^&]+)/i, "");
newLocation = newLocation.replace(/Passwd=([^&]+)/i, "");
}
// alert("BEFORE 574 check [" + newLocation + "]");
if ( newLocation.match(/RQT=574/i) ) {
newLocation = newLocation.replace(/PQDCounter=([^&]+)/, "");
newLocation = newLocation.replace(/HNPCounter=([^&]+)/, "");
}
// alert("AFTER 574 check [" + newLocation + "]");
if(newLocation.match(/DBId=/))
{
newLocation = newLocation.replace(/DBId=([^&]+)/, "DBId=" + element.options[element.selectedIndex].value);
if(newLocation.match(/TpLogin/))
{
newLocation = newLocation.replace(/DBId=[^&]*&/, "");
}
}
else
{
newLocation = newLocation + "&" + "DBId" + "=" + element.options[element.selectedIndex].value;
}
if(newLocation.match(/TpLogin%3D/))
{ var redirUrl;
redirUrl = element.options[element.selectedIndex].value;
element.options[prevIndex].selected = 1; popupNewWindow(unescape(redirUrl));
return; }
else
{
}
// If Multiple databases is selected from the drop down
// then take to the Collections page
if(element.options[element.selectedIndex].value == "-1"){
newLocation = "/pqdweb?RQT=573&LASTSRCHMODE="+lastSrchMode;
}
newLocation = newLocation.replace(/#sform/, "");
newLocation = newLocation.replace(/#more/, "");
newLocation = newLocation.replace(/saved=[^&]*/,"");
newLocation = newLocation.replace(/xsq=[^&]*/,"");
newLocation = newLocation.replace(/xsq1=[^&]*/,"");
newLocation = newLocation.replace(/xsq2=[^&]*/,"");
newLocation = newLocation.replace(/xsq3=[^&]*/,"");
newLocation = newLocation.replace(/xsq4=[^&]*/,"");
newLocation = newLocation.replace(/xsq5=[^&]*/,"");
newLocation = newLocation.replace(/xsq6=[^&]*/,"");
newLocation = newLocation.replace(/xFO=[^&]*/,"");
newLocation = newLocation.replace(/xFO1=[^&]*/,"");
newLocation = newLocation.replace(/xFO2=[^&]*/,"");
newLocation = newLocation.replace(/xFO3=[^&]*/,"");
newLocation = newLocation.replace(/xFO4=[^&]*/,"");
newLocation = newLocation.replace(/xFO5=[^&]*/,"");
newLocation = newLocation.replace(/xFO6=[^&]*/,"");
newLocation = newLocation.replace(/xOP1=[^&]*/,"");
newLocation = newLocation.replace(/xOP2=[^&]*/,"");
newLocation = newLocation.replace(/xOP3=[^&]*/,"");
newLocation = newLocation.replace(/xOP4=[^&]*/,"");
newLocation = newLocation.replace(/xOP5=[^&]*/,"");
newLocation = newLocation.replace(/xOP6=[^&]*/,"");
if(document.frmBasicSrch)
{
xsq = document.frmBasicSrch.SQ.value;
// alert("xsq [" + xsq + "]");
if (xsq != "") {
xsq = encodeUriComponent(xsq);
// alert("encoded xsq [" + xsq + "]");
savingParams = 1;
newLocation = newLocation + "&xsq=" + xsq;
}
}
else if(document.frmAdvancedSrch)
{
var xsqArray = new Array(10);
var xfoArray = new Array(10);
var xopArray = new Array(10);
xsqArray[0] = document.frmAdvancedSrch.SQ.value;
xsqArray[1] = document.frmAdvancedSrch.SQ1.value;
xsqArray[2] = document.frmAdvancedSrch.SQ2.value;
if(document.frmAdvancedSrch.SQ3) {
xsqArray[3] = document.frmAdvancedSrch.SQ3.value;
} else {xsqArray[3] = "";}
if(document.frmAdvancedSrch.SQ4) {
xsqArray[4] = document.frmAdvancedSrch.SQ4.value;
} else {xsqArray[4] = "";}
if(document.frmAdvancedSrch.SQ5) {
xsqArray[5] = document.frmAdvancedSrch.SQ5.value;
} else {xsqArray[5] = "";}
if(document.frmAdvancedSrch.SQ6) {
xsqArray[6] = document.frmAdvancedSrch.SQ6.value;
} else {xsqArray[6] = "";}
if (document.frmAdvancedSrch.FO.options) {
xfoArray[0] = document.frmAdvancedSrch.FO.options[document.frmAdvancedSrch.FO.selectedIndex].value;
} else if (document.frmAdvancedSrch.FO) {
xfoArray[0] = document.frmAdvancedSrch.FO.value;
} else {
xfoArray[0] = "";
}
if (document.frmAdvancedSrch.FO1.options) {
xfoArray[1] = document.frmAdvancedSrch.FO1.options[document.frmAdvancedSrch.FO1.selectedIndex].value;
} else if (document.frmAdvancedSrch.FO1) {
xfoArray[1] = document.frmAdvancedSrch.FO1.value;
} else {
xfoArray[1] = "";
}
if (document.frmAdvancedSrch.FO2.options) {
xfoArray[2] = document.frmAdvancedSrch.FO2.options[document.frmAdvancedSrch.FO2.selectedIndex].value;
} else if (document.frmAdvancedSrch.FO2) {
xfoArray[2] = document.frmAdvancedSrch.FO2.value;
} else {
xfoArray[2] = "";
}
if(document.frmAdvancedSrch.OP3) {
if (document.frmAdvancedSrch.FO3.options) {
xfoArray[3] = document.frmAdvancedSrch.FO3.options[document.frmAdvancedSrch.FO3.selectedIndex].value;
} else if (document.frmAdvancedSrch.FO3) {
xfoArray[3] = document.frmAdvancedSrch.FO3.value;
} else {
xfoArray[3] = "";
}
} else { xfoArray[3] = ""; }
if(document.frmAdvancedSrch.OP4) {
if (document.frmAdvancedSrch.FO4.options) {
xfoArray[4] = document.frmAdvancedSrch.FO4.options[document.frmAdvancedSrch.FO4.selectedIndex].value;
} else if (document.frmAdvancedSrch.FO4) {
xfoArray[4] = document.frmAdvancedSrch.FO4.value;
} else {
xfoArray[4] = "";
}
} else { xfoArray[4] = ""; }
if(document.frmAdvancedSrch.OP5) {
if (document.frmAdvancedSrch.FO5.options) {
xfoArray[5] = document.frmAdvancedSrch.FO5.options[document.frmAdvancedSrch.FO5.selectedIndex].value;
} else if (document.frmAdvancedSrch.FO5) {
xfoArray[5] = document.frmAdvancedSrch.FO5.value;
} else {
xfoArray[5] = "";
}
} else { xfoArray[5] = ""; }
if(document.frmAdvancedSrch.OP6) {
if (document.frmAdvancedSrch.FO6.options) {
xfoArray[6] = document.frmAdvancedSrch.FO6.options[document.frmAdvancedSrch.FO6.selectedIndex].value;
} else if (document.frmAdvancedSrch.FO6) {
xfoArray[6] = document.frmAdvancedSrch.FO6.value;
} else {
xfoArray[6] = "";
}
} else { xfoArray[6] = ""; }
xopArray[0] = "";
xopArray[1] = document.frmAdvancedSrch.OP1.options[document.frmAdvancedSrch.OP1.selectedIndex].value;
xopArray[2] = document.frmAdvancedSrch.OP2.options[document.frmAdvancedSrch.OP2.selectedIndex].value;
if(document.frmAdvancedSrch.OP3) {
xopArray[3] = document.frmAdvancedSrch.OP3.options[document.frmAdvancedSrch.OP3.selectedIndex].value;
} else {xopArray[3] = "";}
if(document.frmAdvancedSrch.OP3) {
xopArray[4] = document.frmAdvancedSrch.OP4.options[document.frmAdvancedSrch.OP4.selectedIndex].value;
} else {xopArray[4] = "";}
if(document.frmAdvancedSrch.OP3) {
xopArray[5] = document.frmAdvancedSrch.OP5.options[document.frmAdvancedSrch.OP5.selectedIndex].value;
} else {xopArray[5] = "";}
if(document.frmAdvancedSrch.OP3) {
xopArray[6] = document.frmAdvancedSrch.OP6.options[document.frmAdvancedSrch.OP6.selectedIndex].value;
} else {xopArray[6] = "";}
for(i = 0; i < 7; i++) {
if(xsqArray[i] != null && xsqArray[i] != "") {
savingParams = 1;
xsqArray[i] = encodeUriComponent(xsqArray[i]);
xopArray[i] = encodeUriComponent(xopArray[i]);
switch(i) {
case 0:
newLocation = newLocation + "&xsq=" + xsqArray[i] + "&xFO=" + xfoArray[i];
break;
case 1:
newLocation = newLocation + "&xsq1=" + xsqArray[i] + "&xFO1=" + xfoArray[i] + "&xOP1=" + xopArray[i];
break;
case 2:
newLocation = newLocation + "&xsq2=" + xsqArray[i] + "&xFO2=" + xfoArray[i] + "&xOP2=" + xopArray[i];
break;
case 3:
newLocation = newLocation + "&xsq3=" + xsqArray[i] + "&xFO3=" + xfoArray[i] + "&xOP3=" + xopArray[i];
break;
case 4:
newLocation = newLocation + "&xsq4=" + xsqArray[i] + "&xFO4=" + xfoArray[i] + "&xOP4=" + xopArray[i];
break;
case 5:
newLocation = newLocation + "&xsq5=" + xsqArray[i] + "&xFO5=" + xfoArray[i] + "&xOP5=" + xopArray[i];
break;
case 6:
newLocation = newLocation + "&xsq6=" + xsqArray[i] + "&xFO6=" + xfoArray[i] + "&xOP6=" + xopArray[i];
break;
}
} }
} if(savingParams != 0) {
newLocation = newLocation + "&saved=1";
}
newLocation = newLocation.replace(/&+/g, "&");
// alert("newLocation [" + newLocation + "]");
var sformRegExp = /sform$/;
if(newLocation.match(sformRegExp) || newLocation.match(/more$/)) {
window.location = newLocation;
}
else {
window.location = newLocation+"#sform";
}
}
//Set on the button state
function bannerInit() {
setMarkedListCookie();
nCurMenu = M_PUB;
doBut(nCurMenu, 1);
}
function highlightMarkButton() {
if (document.getElementById) {
var markedlistBut = document.getElementById("markedlist");
if (markedlistBut) {
markedlistBut.style.backgroundColor='#FF9900';
}
var markedlistBut2=document.getElementById("markedlist2");
if (markedlistBut2) {
markedlistBut2.style.backgroundColor='#FF9900';
}
doBut(M_MARKED_LEFT,1);
doBut(M_MARKED,1);
doBut(M_MARKED_RIGHT,1);
}
}
function unhighlightMark(){
// setMarkedListCookie();
if (getMarkedListCookie() != null) {
var mcookie = getMarkedListCookie();
if (mcookie == "no") {
if (document.getElementById) {
var markedRow=document.getElementById("markedlist");
if (markedRow) {
markedRow.style.backgroundColor='#C3DC79';
}
markedlistBut2=document.getElementById("markedlist2");
if (markedlistBut2) {
markedlistBut2.style.backgroundColor='#C3DC79';
}
doBut(M_MARKED_LEFT,0);
doBut(M_MARKED,0);
doBut(M_MARKED_RIGHT,0);
}
}
}
}
function getMarkedListCookie() {
var cookies = document.cookie.split(';');
for(var i = 0; i < cookies.length; i++) {
var cookie = cookies[i].split('=');
if (cookie[0].indexOf("mlpage") != -1) {
return unescape(cookie[1]);
}
}
return null;
}
function displayLink(mypage, isWarnUser, isNewWindow) {
if ( isWarnUser ) {
NewWindow('/pqdweb?RQT=323&popup=1&link='+mypage+'&nw='+isNewWindow, 350, 150, mypage, isNewWindow);
return;
}
if ( isNewWindow ) {
//window.location.href="/pqdweb?RQT=323";
popupNewWindow(mypage);
} else {
//window.location.href="/pqdweb?RQT=323";
window.location.href=mypage;
}
return false;
}
function NewWindow(mypage, w, h, link, bool) {
if ( w !=0 && h != 0 ) {
LeftPosition = (screen.width) ? (screen.width-w)/2 : 0;
TopPosition = (screen.height) ? (screen.height-h)/2 : 0;
settings = 'height='+h+',width='+w+',top='+TopPosition+',left='+LeftPosition+',scrollbars='+scroll+',resizable'
win = window.open(mypage,"LogoutAlert",settings)
} else {
win = window.open(mypage,"LibraryLink")
}
win.opener = self;
}
var winW; // window width
var winH; // window height
function popupNewWindow(URL_string) {
// Get window width and height
if (parseInt(navigator.appVersion)>3) {
if (navigator.appName=="Netscape") {
winW = window.innerWidth - 60;
winH = window.innerHeight - 80;
}
if (navigator.appName.indexOf("Microsoft")!=-1) {
winW = document.body.offsetWidth - 60;
winH = document.body.offsetHeight - 80;
}
}
newWindow = window.open(URL_string,'newWindow','menubar=yes,toolbar=yes,location=yes,status=yes,scrollbars=yes,resizable=yes,height=' + winH + ',width=' + winW + ',left=50,top=50');
}
// -->
</SCRIPT>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY>
<TR>
<TD vAlign=top align=left width="30%"><A
href="http://www.il.proquest.com/proquest" target=_blank><IMG height=27
alt=ProQuest src="/images/common/logo_proquest.gif" width=178
border=0></A> </TD>
<TD><A
href="/pqdweb?index=2&TS=1137975051&sid=2&srchmode=3&vinst=PROD&fmt=3&startpage=-1&clientid=17867&vname=PQD&RQT=309&did=667273701&ts=1137974892&vtype=PQD&aid=1&clientId=17867&rqt=309&int=1"><IMG
title="Text Only Interface" height=1 alt="Text Only Interface"
src="/images/common/spacer.gif" width=1 border=0></A></TD>
<TD class=textSmall vAlign=top align=right><SPAN class=bold><A class=help
onclick='helpWindow("/i-std/en/pri/article/artdisplay.htm");'
href="javascript:void(0);" name=HelpLink>Help</A></SPAN>
</TD></TR>
<TR>
<TD colSpan=3><IMG height=5 src="/images/common/spacer.gif" width=1
border=0></TD></TR></TBODY></TABLE>
<TABLE cellSpacing=1 cellPadding=0 width="100%" border=0>
<FORM name=marked><INPUT type=hidden value=0 name=numMarked> </FORM>
<TBODY>
<TR vAlign=bottom>
<TD>
<TABLE cellSpacing=1 cellPadding=0 border=0>
<TBODY>
<TR>
<TD vAlign=bottom align=left><A onmouseover="doBut(M_SEARCH, 1)"
onmouseout="doBut(M_SEARCH, 0)"
href="/pqdweb?RQT=306&TS=1137975064&clientId=17867"><IMG
id=basicBut height=25 alt="Basic Search"
src="/images/en/nav_basic_off.gif" width=62 border=0
name=basicBut></A></TD>
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<TD class=headerBlack><STRONG>Digital preservation of audio, video and
film</STRONG></TD></TR>
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<TD class=textMedium><!--Start AUTHORS--><A
href="/pqdweb?index=2&did=667273701&CSP=15028&SrchMode=3&sid=2&Fmt=3&VInst=PROD&VType=PQD&RQT=590&VName=PQD&TS=1137975064&clientId=17867"><EM>Richard
Wright</EM></A>. <!--End AUTHORS--><!--Start PUB_TITLE--><B><A
href="/pqdweb?RQT=318&pmid=59098&TS=1137975064&clientId=17867&VType=PQD&VName=PQD&VInst=PROD">VINE</A></B><!--End PUB_TITLE-->. <!--Start PM_QUAL-->Bradford:
<!--End PM_QUAL--><!--Start ISSUE_URL--><A
href="/pqdweb?RQT=572&VType=PQD&VName=PQD&VInst=PROD&pmid=59098&pcid=13075471&SrchMode=3&aid=1">2004</A><!--End ISSUE_URL-->.<!--Start PCVOLUME-->Vol.34<!--End PCVOLUME--><!--Start PCISSUE-->, Iss. 2; <!--End PCISSUE--><!--Start STARTPG--> pg. 71<!--End STARTPG--></TD></TR><!--End CITATION--></TBODY></TABLE>
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<TD class=textSmall vAlign=top><A
href="/pqdweb?RQT=318&pmid=59098&TS=1137975064&clientId=17867&VType=PQD&VName=PQD&VInst=PROD">VINE</A>. Bradford: <A
href="/pqdweb?RQT=572&VType=PQD&VName=PQD&VInst=PROD&pmid=59098&pcid=13075471&SrchMode=3&aid=1">2004</A>. Vol. 34, Iss. 2; pg. 71</TD></TR><!--End PUB TITLE--><!--Start SOURCE TYPE-->
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<TD class=textSmall vAlign=top>03055728</TD></TR><!--End ISSN--><!--Start DOCID-->
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<TD class=textSmall vAlign=top>667273701</TD></TR><!--End DOCID--><!--Start WORD COUNT-->
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<TD class=textSmall vAlign=top>4102</TD></TR><!--End WORD COUNT--><!--Start ARTICLE URL-->
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<TD class=textSmall bgColor=#e6e6e6><STRONG>Abstract</STRONG> (Document
Summary)</TD></TR>
<TR>
<TD class=textMedium>
<P>Digitisation is used for preservation of audiovisual material. This
preservation work is a major producer of digital collections - which then
need digital preservation for sustainability. EC Project Presto surveyed
the holdings and status of ten major broadcast archives - a significant
portion of total European broadcast archives, including some of the
largest individual collections. The main findings are that approximately
75 per cent of this material is at risk or inaccessible and that the
collections are growing at roughly four times the rate of current progress
in preservation work. This paper gives further results of the project, and
gives practical guidance for preservation of audiovisual material. Presto
demonstrated the effectiveness of the "preservation factory" concept for
major broadcast archives - a way to reduce cost while still maintaining or
even increasing quality. There is now a new EC project, Presto-space,
which will make the preservation factory available to small and
medium-sized collections. [PUBLICATION ABSTRACT] </P></TD></TR></TBODY></TABLE><!--End ABSTRACT--><A name=fulltext></A><!--Start FULL TEXT--><IMG height=5 alt=""
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<TD class=textSmall bgColor=#e6e6e6><STRONG>Full Text</STRONG> (4102
words)</TD></TR>
<TR>
<TD class=textMedium><I>Copyright MCB UP Limited (MCB) 2004</I>
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<TR>
<TD class=textSmall noWrap><B>[Headnote]</B></TD></TR>
<TR>
<TD class=textSmall>Keywords</TD></TR>
<TR>
<TD class=textSmall>Digital storage, Audiovisual media</TD></TR>
<TR>
<TD class=textSmall>Abstract</TD></TR>
<TR>
<TD class=textSmall>Digitisation is used for preservation of
audiovisual material. This preservation work is a major producer of
digital collections which then need digital preservation for
sustainability. EC Project Presto surveyed the holdings and status
of ten major broadcast archives - a significant portion of total
European broadcast archives, including some of the largest
individual collections. The main findings are that approximately 75
per cent of this material is at risk or inaccessible and that the
collections are growing at roughly four times the rate of current
progress in preservation work. This paper gives further results of
the project, and gives practical guidance for preservation of
audiovisual material. Presto demonstrated the effectiveness of the
"preservation factory" concept for major broadcast archives - a way
to reduce cost while still maintaining or even increasing quality.
There is now a new EC project, Presto-space, which will make the
preservation factory available to small and medium-sized
collections.</TD></TR>
<TR>
<TD class=textSmall>Electronic access</TD></TR>
<TR>
<TD class=textSmall>The Emerald Research Register for this journal
is available at www.emeraldinsight.com/researchregister</TD></TR>
<TR>
<TD class=textSmall>The current issue and full text archive of this
journal is available at
www.emeraldinsight.com/0305-5728.htm</TD></TR></TBODY></TABLE>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY></TBODY></TABLE><BR>
<P>Overview</P>
<P>The bulk of audiovisual material is at present analogue, not digital.
However this material in the main requires digitisation for preservation
and for access. Audiovisual preservation projects are creating large
digital collections, which then share with all other digital collections
the problem of sustainability: maintenance and regeneration of the
collections. Major broadcasters across Europe are spending roughly euro100
million per year on digitising their archives. The purpose of this paper
is to give information on audiovisual digitisation, so that other digital
preservation projects can learn from that experience.</P>
<P>There are three categories of media that will be discussed: audio,
video and film. Photographs are also audiovisual - but will not be covered
as there is considerable information already available on that subject
(Klijn and de Lusenet, 2000).</P>
<P>The overall conclusion is in three parts:</P>
<P>(1) There is a consensus on the preservation strategy for audio:
digital files on mass storage media (of various sorts).</P>
<P>(2) There are two main schools of thought regarding video:</P>
<P>* transfer to a current videotape format; and</P>
<P>* transfer to digital files on mass storage media (of various
sorts).</P>
<P>(3) Within broadcasting (film in TV is a special case) there is
agreement on the long-term solution for film: high-resolution digitisation
and mass storage. There is, however, at present no practical path from the
current situation to that solution. Moreover, for film archives in
general, digitisation has not been accepted even in principle.</P>
<P>Much more detail about current preservation practice is available in a
public document prepared by an EC-supported project run by the <A
onclick="return NewRefWin('/pqdweb?RQT=501&idlqry=BBC&idltype=company&idlkbase=2&idlmode=1');"
href="javascript:void(0);"><IMG src="/images/common/circlei3.gif"
border=0>BBC</A>: Presto Deliverable D3.2: existing and emerging
technology (Presto, 2001).</P>
<P>Problems with audiovisual media</P>
<P>The twentieth century was the first century with a record of its
significant events - the sounds and moving images - on film, audio and
video media, now held in broadcast archives. This record is at risk, as
the recordings are deteriorating or on obsolete formats. Broadcasting did
not develop as a "heritage institution". As a consequence, broadcast
archives have no business or funding models designed to support
preservation - and sustainable archives.</P>
<P>Presto project</P>
<P>Broadcast archives and technologists joined forces to better understand
the issues and problems of audiovisual preservation, and to develop
solutions and joint standards. This joint effort has been made possible by
funding from the European Commission fifth framework programme in
information society technologies: cultural heritage applications. Presto
was a 24-month, euro4.8 million project to develop broadcast archive
preservation technology, which ended in August 2002.</P>
<P>Preservation is also transformation: to digital media of some sort,
opening new possibilities for storage and access. The project also
considered future methods of archive usage (and revenue generation) in
order to achieve the true "best cost" when considering the possibilities,
over the next 20 years or more, for usage of the preserved content.</P>
<P>The project was led by the <A
onclick="return NewRefWin('/pqdweb?RQT=501&idlqry=BBC&idltype=company&idlkbase=2&idlmode=1');"
href="javascript:void(0);"><IMG src="/images/common/circlei3.gif"
border=0>BBC</A>, and full partners are two of the other largest European
national archives:</P>
<P>(1) INA = Institut National de l'Audiovisuel.</P>
<P>(2) RAI = Radiotelevisione Italiana.</P>
<P>There were also seven technical partners, and a user group of seven
more (beyond <A
onclick="return NewRefWin('/pqdweb?RQT=501&idlqry=BBC&idltype=company&idlkbase=2&idlmode=1');"
href="javascript:void(0);"><IMG src="/images/common/circlei3.gif"
border=0>BBC</A>, INA and RAI) national broadcast archives.</P>
<P>Presto survey</P>
<P>Briefly, Presto data leads us to estimate that there is at least 100
million hours of audiovisual material, world-wide. For instance, the
Swedish national archive alone has six million hours. About 70 per cent of
all this material is in need of preservation work, for reasons of
obsolescence (or the media or the players of the media), deterioration, or
fragility of the media. The bulk of the problem is with analogue material,
which is the most difficult to preserve because the transfer of analogue
material is harder to automate than is the case with digital material
(which can, in principle, be "cloned" by some sort of robotic
machine).</P>
<P>Solutions</P>
<P>How to organise audiovisual preservation</P>
<P>For audio and for videotape, the cost of preservation work can vary
enormously. The primary factors controlling cost are:</P>
<P>* Accessing the material: it costs a lot to search, fetch, and
transport the old material, and then shelve the new material. If material
is being accessed anyway (for issuing or research), then preservation work
can be done at the same time (preservation on demand).</P>
<P>* Throughput: a conventional transfer consists of one person playing an
item from an old format onto a new format, and then checking the result.
This takes about three hours per hour of material, and is the least
effective way to transfer a lot of material. A dedicated facility operated
as a transfer factory, with each operator running not one but four or five
simultaneous transfers, and with maximum automation of checking and
labelling (the basic medata) - can save about two-thirds of the cost as
compared to a conventional transfer.</P>
<P>The above two points are in serious conflict. Preservation on demand
usually needs to be tied to a conventional, one-at-a-time transfer. A
"factory" approach is required to copy a whole collection in a reasonably
short time with maximum cost-effectiveness.</P>
<P>The most expensive way ("the obvious way") to do preservation is to
access the material specifically for preservation work (not as in step 1
above, so no access savings), and then do the one-at-a-time transfers.
Table I shows the Presto rough estimates of the costs of the three
options.</P>
<P>The problem with Table I is that cost information is notoriously
incomplete and imprecise. "Cost" ultimately is what a departmental or
institutional budget has to pay visible cost. If a department has the
staff and the equipment and the time, the visible cost for the "obvious
way" may be zero, rather than £150 per hour! In contrast, shipping it out
the door to an efficient audio transfer factory would incur the very
visible £50 per hour.</P>
<P>It is important to consider not just cost but time. If the material is
already old and causing enough problems to motivate thinking about copying
to a new format, then this copying may need to be done in months, not
years. The total time as well as the total cost must be calculated for
each of the options, and then the better choice is the cheapest one within
the allowed time, not the cheapest overall.</P>
<P>Cost per use</P>
<P>The true cost of an asset is total lifecycle cost. The true benefit is
related to the number of times that asset is used over the lifecycle.
Although not every use has equal benefit, overall more collection access
means more benefit. Therefore a simple way to combine transfer cost, life
cycle cost, and the significance of new service opportunities, is to
translate those new opportunities into a predicted rate of item usage.
Options for preservation can then be compared, in monetary terms, on a
"cost per use" basis. A significant conclusion of the Presto survey is
that archive preservation strategy should aim at the "lowest cost per use"
over the life cycle of the new media, not at the lowest transfer cost.</P>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY>
<TR>
<TD class=textSmall>Table I The Presto rough estimates of the costs
of the three options</TD></TR></TBODY></TABLE>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY></TBODY></TABLE><BR>
<P>Solutions for audio</P>
<P>There are many forms of audio media, with the following main
formats:</P>
<P>(1) Analogue formats:</P>
<P>* wax cylinders;</P>
<P>* shellac and vinyl discs;</P>
<P>* 0.25 inch open-reel audio tape; and</P>
<P>* cassette tape.</P>
<P>(2) Digital formats:</P>
<P>* Digital Audio Tape tape (DAT - the first widely available digital
format for audio, now obsolete);</P>
<P>* CD (audio CD; the CDs that work in a walkman);</P>
<P>* Mini-disc; and</P>
<P>* "computer media": floppy discs, CD-ROM, ZIP-drives, removeable hard
drives, datatape of various sorts, e.g. Exabyte.</P>
<P>For analogue media, there is good reason to transfer both disc and tape
formats to a modern format. Although shellac and vinyl have a very good
shelf life (maybe centuries if not touched), shellac (78 rpm recordings)
is brittle and easily damaged if handled, and both shellac and vinyl are
virtually certain to be damaged if played. So for reasons of access, such
material should be copied.</P>
<P>For tape (0.25 inch and cassette and DAT), there is a much shorter
shelf life, perhaps as low as 20 years or even less if stored at high
temperature and humidity. For all these media, including DAT, there is the
additional problem that their transport - the equipment used to play the
material - is obsolescent.</P>
<P>It is important for any tape-based medium to be stored at low
temperature and humidity, if possible. The Audio Engineering Society
(AES22, 1997) recommends storage at normal room temperature only if there
is a low relative humidity (RH below 30 per cent). For every 10 percentage
points increase in the relative humidity, the temperature should be
reduced by 5°C. Storage at 15°C rather than at normal office temperature
of 22°C should add about 50 per cent to the life expectancy of magnetic
tape.</P>
<P>What to copy on to, for audio</P>
<P>The answer will vary according to the size and the purpose of the
collection:</P>
<P>* Broadcast archives: across the archives included in the Presto
survey, those reporting at the Presto workshop, and those reporting
through the professional association International Association of Sound
Archives (IASA), there is a consensus that the time has come for broadcast
audio archives to digitise, to make electronic files, and to hold these
files on mass storage for electronic distribution. This is a standard
"digital library" approach, but the costs and infrastructure are now
adequate to make this approach practical and cost-effective for audio
collections. Broadcast archives are making.WAV files in a particular
format: EBU Broadcast WAV format = BWF (EBU BWF, 2001). These files are
held on various media: CD-ROM, DVD-ROM and datatape being the main
choices.</P>
<P>* For smaller collections, or collections outside broadcasting, there
may be fewer incentives to make electronic files. However, if part of the
justification of a preservation process is to increase access, then some
form of file format is definitely recommended. For Internet access, the
most common formats are REAL, MP3, QuickTime or Windows Media. Of these,
MP3 is in principle an "open" format because MP3 stands for MPEG 1 layer
3, and MPEG is an International Standards Organisation (ISO) format and
therefore by definition publicly available, well-defined and in theory
well-supported; such is not always the case with proprietary formats.</P>
<P>Writing to CD and DVD media</P>
<P>Best life expectancy is obtained by observing basic precautions. For a
few hundred items, use of a professional service may be the most effective
way to get a long-lasting result. For a large volume, the do-it-yourself
alternative to a professional service needs special error-checking
equipment (or professional advice) to insure that the blank media make a
good match for the model of CD or DVD writer. Thorough testing is also
required:</P>
<P>* for every new batch of blank media;</P>
<P>* for every CD/DVD as soon as it has been written, for proper read
back; and</P>
<P>* selective media testing every six months, to monitor for
degradation.</P>
<P>If written improperly, life expectancy of CDs can be measured in days.
If done properly, a 20-year shelf life can be achieved. CDs are sensitive
to mechanical damage (scratching), ultraviolet light and chemicals, and
need proper handling and storage.</P>
<P>Solutions for video</P>
<P>There are even more formats for video than for audio. Again, this paper
will concentrate on preservation of analogue formats. Within this
category, there are two sorts of tape: the original open-reel formats (2
inch and 1 inch), and the later cassette formats (U-Matic, BetaSP). In
addition, there are open-reel domestic formats, and the <A
onclick="return NewRefWin('/pqdweb?RQT=501&idlqry=PHILIPS&idltype=company&idlkbase=2&idlmode=1');"
href="javascript:void(0);"><IMG src="/images/common/circlei3.gif"
border=0>Philips</A> domestic cassette format from the 1970s, and
others.</P>
<P>Many of the logistical issues have already been discussed. If there is
a large amount to be copied in a short time, it needs a factory approach
or the costs will be tripled. However, the handling of cassettes is easier
than for open reels, and for a very large project the cassette handling
can be done in a robot - which would allow future transfers from old to
new media to be fully automated. There is also a large difference between
analogue and digital video: once material is digital, on any format, it
will be far cheaper to copy to some future format. The big expense is
getting analogue video material into a digital form.</P>
<P>Preservation strategy for video</P>
<P>The strategy here is mixed. Some major archives are committed to
mass-storage with data files; others copy to current videotape formats
(e.g. digibeta, DV-CAM) in the full knowledge that in the relatively near
future these same formats will need to be re-copied. Even those archives
committed to mass storage continue to also make current-format videotape,
as backup or because not everyone has access to the digital files on mass
storage, or because (for reasons of economy or for ease of delivery over
existing low-bandwidth data networks) the digital files are not full
quality.</P>
<P>The full automation of videotape preservation, following the factory
model now accepted as standard for audio, has not been fully developed and
adopted for video. The Presto project created a high-efficiency reference
preservation process (a state-of-the-art process for transferring
videotape, with all the efficiency and automation features currently
available, including the new technology developed by Presto) for U-Matic
material.</P>
<P>Outside of broadcasting, and for small collections, it will hardly be
sensible to copy to datatape because then the only way the material can be
accessed is via a dataplayer and some sort of computer system. Videotape
can be directly played from a videotape player - and the cheapest
videotape option will be the "semi-professional" DV (DVC, DVC-PRO, DVC-PRO
50, DVCAM) family of digital videotape. However as with audio every
preservation project should consider making a compressed version for Web
access. MPEG-1 is a rather high data rate (1 Mbits/second), and REAL,
QuickTime and Windows Media encoding methods are the ones most commonly
used. MPEG-4 is a non-proprietary alternative.</P>
<P>As well as outsourcing tape-copying aspects of preservation, it is
possible to outsource the Web encoding, and the Web hosting.</P>
<P>The option of copying video to DVD should be seriously investigated. It
will not have the same top quality as DV, but it may well:</P>
<P>* last longer;</P>
<P>* be easier to play, copy and distribute; and</P>
<P>* have a lower media cost.</P>
<P>DVDs can be written in MPEG II at a data rate (and corresponding
quality) of 4 to 8 Mb/s. These DVDs will then play on conventional DVD
players, and on computers with DVD drives. A data rate of 4 Mb/s is what
digital TV is currently broadcasting, and commercial cinema DVDs are in
this same 4-8 Mb/s range. Whether the quality of digital TV or commercial
DVDs is adequate is a decision that requires analysis and advice.</P>
<P>For large projects that will take the leap to data tape, there is a
choice: linear or helical. Linear uses low-demand technology, and writes
the data in straight lines on the tape (hence the name), using fixed
heads. Helical uses the technology invented for videotape: a moving head
that writes tracks on a slant across the tape, allowing higher speed and
higher density - but it is a much more technically demanding and costly
technology. Writing to linear data tape is safer and cheaper than writing
to videotape, because linear writing/reading is much less "near the edge"
in technical performance than is the case for the helical writing/reading
used for all videotape formats.</P>
<P>Solutions for film</P>
<P>Sixteen millimetre film was an audiovisual format 100 years ago, and
will probably be a valid format 100 years from now. There is nothing
comparable to film in terms of format stability. Modern advances mean that
film made in the last 30 years, if properly stored, can be expected to
last a century or more. Also film is very expensive to process: it costs
about 20 times as much to make a new film master as to make a new video
master, and about 10 times as much to make a new working copy (circulation
copy or print). All of these factors work against doing anything with film
beyond trying to hold it in the proper environmental conditions, for as
long as possible.</P>
<P>However sometimes the sit-on-it approach simply is not adequate.
Acetate-based film can turn to acetic acid (vinegar syndrome) and once the
reaction starts, something must be done. There is a considerable
literature on vinegar syndrome, so this paper will only discuss what to do
about transferring material - whether forced by vinegar syndrome or by
some other reason (such as deterioration due to fading, age or inadequate
storage conditions).</P>
<P>Vinegar syndrome attacks magnetic film sound tracks faster than
ordinary film. Professional film archives will have this material, but
small collections will probably only have "sound on film" material and so
should have less of a problem with vinegar syndrome. Magnetic sound tracks
can quite cheaply be transferred to CD - but that leaves the problem of
how to use the CD when viewing the film. This is a specialist issue and
people in the UK can refer to the British Film Institute for advice.</P>
<P>Preservation strategy for film</P>
<P>The actual current preservation strategy for film is simple and clear:
sit on it. Archives are concentrating on storage conditions, not on
digitisation. However, as covered in Presto Deliverable D5.2
Sustainability of film collections, there is rapid development in film
technology coming from two directions:</P>
<P>(1) Increased resolution for video: high definition TV, already a
reality in Japan, is the next technical step for the USA. This development
will promote the HD format in TV production, and so the "film workhorse",
the telecine, will inevitably be upgraded from 625 lines to over 1,000
lines; the only question is: when?</P>
<P>(2) Development of "digital cinema": the pressure is from the high cost
of mass distribution of cinema productions on films a major release
requires 5,000 prints at a cost of $2,000 each. This fact is pushing the
development of digital technology in the 2,000 to 4,000 lines area (the
production standards now used in high-end computer graphics for cinema
special effects).</P>
<P>For film material to be used in TV, it has to be converted from film to
video: a telecine conversion. At present, the telecine process is medium
rather than high resolution (roughly 600 lines per image, equalling
standard definition TV) and so the film must be kept because the videotape
is poorer image quality. As soon as higher-resolution scanning becomes as
cheap as current telecine, more and more of a film archive can be scanned
once-and-for-all. Archives are waiting for 1,000, and then 2,000 and
finally 4,000 scanning to be as cheap as current telecine processes.</P>
<P>Presto developed an automatic film splicer, to replace manual labour in
re-joining archive film with many tape splices. Such film is common in TV
archives, where individual news stories were joined to make a "day reel"
for each day's news. This device, and high-resolution scanning equipment,
has the same price justification issues as for high-efficiency audio and
film preservation equipment: it is expensive, it has to be kept in use or
it is not cost effective. It can only be used on big jobs with a guarantee
of sufficient material to warrant the investment.</P>
<P>Hence for film as well as for audio and video, the progress in
efficient and cost-effective preservation is the province of the big
archives only.</P>
<P>For small collections, and especially for collections of material that
is not of top quality (not 35 mm, not professionally produced) one
strategy is the same as for similar low-to-medium quality video: transfer
to DVD, using MPEG II at 4 to 8 Mbits/second. This option will give "TV
quality", and it is up to the archive to make a proper judgement about
whether such DVD quality will suffice.</P>
<P>Problems with the solutions</P>
<P>The main problem with the Presto preservation factory approach is that
it takes a considerable investment to set up and run such a factory. Only
institutions with large volumes of audiovisual media could adopt the
approach.</P>
<P>One could suggest that the large institutions open their factories to
use by smaller institutions. The problem here is that all holders of
audiovisual material are in a race against time for preserving their own
holdings, and in general do not have spare capacity.</P>
<P>The preservation factory approach is the Presto answer to preservation
for broadcast archives, and is suitable for:</P>
<P>* large collections;</P>
<P>* that earn money; and</P>
<P>* have sophisticated technical support.</P>
<P>What is needed is an audiovisual preservation solution for everybody
else.</P>
<P>Preservation is a major issue, but cannot be viewed in isolation. The
institutions that hold this endangered material perform services, and
broadcast archives serve a highly technical and rapidly changing industry.
Preservation strategy needs to consider - to foresee if possible - the
future service requirement of multimedia collections for at least the next
20 years. These service requirements will increasingly be based on
electronic mass storage and direct, networked end-user access - probably
using Web technology.</P>
<P>A proposed solution is being developed by a new EC project:
Presto-Space. The solution is to develop the preservation factory approach
as commercial services, and to develop new archive access as the main
method for acquiring funding.</P>
<P>Presto-Space: access funds preservation</P>
<P>Major audiovisual cultural collections in Europe have joined forces to
propose Presto-Space, a sixth framework integrated project to provide
practical methods for digital preservation of all types of audio-visual
collections. The aim is to build-up preservation factories providing
affordable services to all kinds of collection owners, including not just
preservation but also the ability to manage and distribute the new digital
assets.</P>
<P>The way to achieve the goal of "preservation for all collections" is
with an integrated approach, to produce sustainable assets with easy
access for much wider exploitation and distribution. The key idea is: an
accessible item is more valuable than an item stuck on a shelf. An
integrated process provides this access, generating revenues that will
fund the activity and developing resources to finance collection
maintenance. Presto-space will produce not just new media, but new
business models involving electronic access to the new media. The
preservation factories will deliver the full package: metadata, media,
storage, Web site, asset management. The prospect of much better access is
the mechanism for acquiring the needed funding: access funds
preservation.</P>
<P>Conclusions</P>
<P>Broadcast archives are in the early stages of the biggest and most
expensive media conversion they will ever face. The whole process of
selection and digitisation of analogue media will take at least another 20
years. Without widespread funding and support, and without cost-effective
and farsighted use of technology, the work will not keep pace with the
deterioration of the material. EC project Presto has documented the
problem, provided guidance for organising preservation transfer projects,
and delivered multiple forms of new technology for reducing preservation
project costs, and increasing their efficiency. EC project Presto-space
(starting January 2004; http://prestospace.ina.fr) will develop commercial
services to provide both the technology and the revenue for efficient
preservation of all of Europe's audiovisual heritage, with special
emphasis on film.</P>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY>
<TR>
<TD class=textSmall noWrap><B>[Reference]</B></TD></TR>
<TR>
<TD class=textSmall>References</TD></TR>
<TR>
<TD class=textSmall>AES22 (1997), "Recommended practice for audio
preservation and restoration - storage and handling - storage of
polyester-base magnetic tape", available at:
www.aes.org/standards/b_pub/aes-standards-in-print.cfm</TD></TR>
<TR>
<TD class=textSmall>EBU BWF (2001), "Broadcast WAV format",
available at:
www.ebu.ch/departments/technical/pmc/pmc_bwf.html</TD></TR>
<TR>
<TD class=textSmall>Klijn, E. and de Lusenet, Y. (2000), In the
Picture - Preservation and Digitisation of European Photographic
Collections, ISBN 90-6984-294-7, European Commission on Preservation
and Access, Amsterdam, available at: www.knaw.nl/ecpa</TD></TR>
<TR>
<TD class=textSmall>Presto (2001), "Presto Deliverable D3.2:
existing and emerging technology", available at:
http://presto.joanneum.ac.at</TD></TR></TBODY></TABLE>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY></TBODY></TABLE><BR>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY>
<TR>
<TD class=textSmall noWrap><B>[Author Affiliation]</B></TD></TR>
<TR>
<TD class=textSmall>The author</TD></TR>
<TR>
<TD class=textSmall>Richard Wright is Technology Manager at the BBC
Information and Archives, Brentford, UK. E-mail:
richard.wright@bbc.co</TD></TR></TBODY></TABLE>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
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