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DigiCULT
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Info
15
This isn't a private digitisation company, it
is a library, so it can be difficult for staff to
fully endorse the importance of what we
do. It is such a fast-moving field, but I think
that time will help more and more people
to understand the necessity of the digital
library. Of course, the technology is chang-
ing all the time, but we can't wait for the
"perfect" digitisation technology we have
to act now, or important materials will be
lost. There isn't really any choice.'
`
The real challenges for the future will be
in managing the rights of digital objects.
The situation in France is relatively restrict-
ed as regards access rights. For example,
unlike most European countries, there is no
waiving of rights restrictions for research
or teaching purposes. We are working on
adapting the European directive to rights
management within France. There are,
unfortunately, no ways in which to bypass
the technical demands and issues relating
to access rights at the moment. Digitisation
for preservation and digitisation for access
have different requirements and complica-
tions it is our job to address these differ-
ences as quickly as possible in order to best
serve the aims of the BnF and the needs of
its users.'
Daniel Teruggi, Directeur
recherche et experimentation,
Institut national de l'audiovisuel
(INA)
INA (http://www.ina.fr) was set up
in 1975 to preserve French nation-
al audiovisual heritage, make it more
widely accessible, and keep abreast
of changes in the audiovisual sec-
tor. All public broadcast programmes
have been archived since INA's incep-
tion, resulting in over 1.5 million
hours of audiovisual materials. Since
1992 INA has been in charge of Radio
and Television Legal Deposit, keep-
ing a recording of all broadcast pro-
grammes for research purposes.
Daniel Teruggi started working in
the musical research group (GRM),
founded in 1948, which was incorpo-
rated into INA from the outset, and
became Director of Research and
Experimentation in 2001.
`
The Research and Experimentation
Department at INA contains different
focus groups for research. GRM (recherches
musicales: http://www.ina.fr/grm/) com-
prises around fifteen people and works on
building tools for sound and the produc-
tion of programmes and CDs, while the
GRAMM, audiovisual and multimedia
research group (http://www.ina.fr/recher-
che/index.fr.html), employs about thir-
ty staff and ten PhD students working on
problems related to archives, mainly image
and sound restoration, content identifica-
tion and content description.
W
e now provide online access to
around 200,000 hours of materi-
al that is browsable by registered custom-
ers. Before a high-resolution version of a
programme or clip is delivered, the access
rights and permissions are cleared, but
browsing versions are available. Our selec-
tion criteria for placing materials online
can be considered in three main areas:
1. Technical considerations: for example, is
the material under threat?
2. Content: for example, is the material very
likely to be used? Is it a unique or partic-
ularly excellent example?
3. Commercial factors: for example, we
digitise `on demand' for our customers.
A
lthough at the moment INA offers
these materials for professional use
rather than to the public, in the future we
want to open up public access to the digi-
tised materials.
Daniel Teruggi

Daisy
Abbott,

HA
TII,

Uni
v
er
sity
of
Glasgo
w
,

2004
INA offices at Radio House

Daisy
Abbott,

HA
TII,

Uni
v
er
sity
of
Glasgo
w
,

2004