Huidige selectiecriteria en de online documentaire HOOFDSTUK 4 ...

operational. The original source-code is kept and meta-data must be added to make sure
information is available about what this particular production contained. Also, regular evaluation
moments are necessary to make sure the software can be retrieved and made accessible.
Reuse and re-distribution would require a great investment of time and financial means. Also, it
is not possible to judge whether in a few decades time these productions can still be retrieved
and re-configured.
What is important is to again consider the why-question of preservation. What is the added value
from a cultural heritage perspective of being able to access to ‘original’ product? Also, more
research is required into the legal and financial implications of these forms of preservation. Due
to the great variety of options makers have at their disposal, the customized application and
combination of the here mentioned methods is a likely outcome.
CHAPTER 6: CONCLUSIONS AND RECOMMENDATIONS
What has become clear through the research performed is that to grasp the developments
taking place in the field of online documentaries, a great variety of perspectives is required.
The technological, artistic, economical, political, institutional and organisational are intimately
linked and cannot be considered in isolation of each other. The recommendations are here
summarized in three areas: the policy of Sound and Vision, suggestions for cooperation with
third parties and suggestions for further research.
Although mention is made of born digital material in the selection policy, the
consequences for archiving practice are still somewhat underestimated. There are a number
of fundamental discussions that in the ‘digital era’ cannot be avoided. Things like the national
borders as the dominant demarcation for preservation; the current focus on high culture
and professional production versus consumer use and amateur production; the possibility of
preserving less material whilst spending more resources on improved documentation. The
initiatives that are currently taking place with the preservation of websites and internetvideo
are positive and will contribute to a better understanding of what is needed in the digital era.
The quantity of audio-visual material produced in society today is overwhelming.
Cooperation with other parties is essential. Manual selection and acquisition are both time
consuming and expensive. The largest degree of standardization is possible at the level of
financing through public funds. Also parts of these processes can perhaps be outsourced
to competition and festival selection to make sure productions of high quality find their way
to the archives. At the level of production Sound and Vision is faced with the challenge of
finding a service it can provide that provides an incentive for producers to voluntarily make
their productions available for archiving. This could take the shape of file-hosting, service in
(re)distribution of productions to festival for example through FTP-servers and services with
regard to reuse.
Cooperation is also essential in looking for technological (software) solutions. There
are a lot of organisations world wide that are facing similar problems and are looking for
solutions, developing software and running pilots. Within the Netherlands alone it is important