Ein Schwerpunkt der Sendung liegt auf für diese Sendung digitalisiertem Material, welches sich auf VHS-, MC- und DAT-Kassetten befand und noch teilweise aus der Zeit vor dem offiziellem Sendestart stammt, einiges sogar aus dem Jahr 1994.

1998 sendete Radio Corax ein 48stündiges Aktionsradio anlässlich des Paulusfest in der Stadt – einiges damals entstandenes Material bzw. Radiomitschnitte (teilweise minderer Qualität) werden der in der Sendung wieder akustisch-lebendig. Die ausgewählten Beiträge aus den frühen Jahren von Radio Corax zeigen jedoch nur exemplarisch sowohl den verschiedenen Umgang mit Inhalten als auch die Form der Präsentation – der Großteil an gesendeten Radiostunden findet sich heute nicht mehr in den Räumlichkeiten und versendte sich mit den UKW-Wellen für immer.

In der Sendung sind immer wieder Statements von Ralf Wendt zu hören, der Gründungsmitglied des Vereins und heute unter anderem als Programm-Koordinator und Radiotrainer für Radio Corax aktiv ist.

Zu hören ist auch eine Collage, welche in unmittelbarer Reaktion auf die Flugzeugentführungen und Attentate 2001 auf das World-Trade-Center entstand. Wie auch eine Sendung, welche unter dem Titel “Hühnermanhatten” als schräges-durchorganisiertes-improvisiertes Morgenmagazin zu finden war.

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (September 2015).

Programme 1: Jack Byrne

Area: Coolock

Jack speaks about moving to Coolock in the 1960s, watching the area transform with the development of the factories (Cadburys, Tayto) as well as the arrival of the Northside Shopping Centre. He also speaks of his own involvement in setting up the Coolock/Artane credit Union, NearFM and others in the area.

Programme 2: Connie O’Reilly

 Area: Santry

The change from having cattle in her garden to housing being built. Living beside the airport. What they did for entertainment at the time. transport links to the city centre. She speaks of her time as part of the residents committee and also of the arrival of DCU to the area.

Programme 3: Vincent Flood

Area: Donnycarney/City Centre

Vincent reads a short story from his autobiographical book “The Ambidextrous hound”. This particular story focuses on his family life after his fathers return to the family home at the end of World War two.

Programme 4: Declan Cahill

Area: Coolock/Artane/Glasnevin/Drumcondra

Declan discusses what Dublin was like when he first moved here from Cork. He tells us of his memories of the Dublin Monaghan bombings in 1974. He talks about his home in Coolock and the quailty of house building at the time.

Programme 5: Janet Flynn

Area: Marino

Janet moved to Marino in 1957. She maps out the various local shops for us at the time and describes what it was like to live in the area during the 1950s. She tells us about the family life at that time and what they did for entertainment.

Programme 6: John Haughton

Area: Bayside, Sutton

John moved to Bayside in the late 1960s and tells us about the sense of community spirit that existed in the area at the time. The transport links were one of the factors that brought them to Bayside as well as his love of the sea which is located nearby. He also tells about his love for Howth and it’s natural beauty.

Programme 7: Hilda Beare

Area: Raheny

Hilda moved to Raheny in the 1950s. She tells us in great detail what the village was like at that time and how it has changed over the years. We hear stories of raising her children and she maps out how Raheny has developed over her time there.

Programme 8: Geraldine Murphy

Area: Raheny, Clontarf, Whitehall

Geraldine tells us about her childhood growing up near St.Annes park in Raheny. She tells us about the park and regales us with anecdotes about what they did in the area for fun when she was growing up. She also shares with us her mothers experiences of growing up in Whitehall having moved from the city centre in the 1930s.

Johannes Wilms (Mitglied bootlab.org und Mitinitiator von u.a. juniradio, radioriff auf reisen, mikro.fm und colaboradio) zu Gast, der mit grundlegenden Fragen zum Thema Archivierung und Archiv konfrontiert wird. (de)

Im Gespräch mit CUAC-FM-Aktivisten über die Verwendung von Software und deren derzeitige Archivierungsmethode. (en)

Gespräch mit Ingo Leindecker about the new visualisation-tool. (de/en)

Zu Gast Caroline Mitchell und Jacob Kreutzfeld über die Bedeutung von Community-Radioprogrammen wie FEM-FM, Community-Archiven, die Herkunft von Meta-Daten und vieles mehr. (en)

Radio Student goes Radio Corax – Live-Show by Marko Doles and Andraz Magajna from Slovenia. (de/en)

Interview mit Lale Rodgarkia-Dara und Karl Schönswetter über die anstehende Performance, die Bedeutung von Archiven und unseren Umgang damit in der heutigen Zeit von Big-Data. (en)

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (june 2015).

5:25 Eindrücke von Kongressbeginn – Gespräch mit Gregor
11:37 zu Gast: Johannes Wilms – Gespräch über Konferenz, Text “Rescue, replay, reproduce”, Datenbank-Programm Open-Meta-Archive (OMA) + OPA;
15:12 @ Johannes Wilms: Was ist das Spannende an Archiven?
21:10 @ Johannes Wilms: Radio als immaterielles Medium?
23:55 @ Johannes Wilms: Radio nicht für VHS-Kassetten produziert, oder?
25:20 @ Johannes Wilms: Aufnahmen/Speicherung bedeutender als Ausstrahlung?
30:18 @ Johannes Wilms: Speichern als Einflussfaktor während des Produktionsprozess?
31:37 @ Johannes Wilms: Hörgewohnheiten beeinflussen Archvierungsmethoden?
32:11 Music: Torley – Just we like it (cc-Lizenz)
34:19 Radio Tilos/Budapest zum Media-Act (2013)
37:20 Johannes Wilms über die Situation in Ungarn, Bela Bartok, Kudaj
40:57 Automatisiertes Archiv bei Tilos Radios in Ungarn
43:18 Frage nach Verantwortlichkeit von Freie-Radio und Community-Media-Archiven
44:44 Johannes Wilms über Radio Student
46:52 Lublijana als kultureller Ort
48:10 über calcMS zur Programmsteuerung und -archivierung bei Colaboradio
50:45 Music: Emorej – Rain come down (cc-Lizenz)
56:30 Guests from CUAC-FM
1:03:21 Music: Neo diao – In game (cc-Lizenz)
1:06:49 CBA – Gespräch mit Ingo Leindecker about the new visualize-tool (dt/engl)
1:19:04 Music: Nokom Elektro – Dub fiction (cc-Lizenz)
1:24:23 Conversation with Caroline Mitchell and Jacob Kreutzfeld
1:25:25 @ Caroline Mitchell: Does Fem-FM changed the consciousness about the importance of feminist topics in media?
1:31:00 Caroline Mitchell: More than one feminist archive – lets link and connect
1:33:00 Historical speaches are preserved with aim – what about unrecorded and unheard female voices?
1:34:07 @ Caroline Mitchell: Is it hard to find archived material from or about groups which are ignored by mediamaker?
1:35:35 Jacob Kreutzfeld: Experiences with Danish Archive and gender issue
1:37:03 @ Jacob Kreutzfeld: No topic – no archiving?
1:37:37 Fan-Archives and Pirate-Radio-Archives
1:38:49 Caroline Mitchell: Radio-Gay-Programme in Sunderland
1:40:11 @ Jacob Kreutzfeld: LARM-project is also about gay-programmes oder Pirate-Stations?
1:41:25 @ Jacob Kreutzfeld: Where are Meta-Data you use from?
1:43:40 @ Jacob Kreutzfeld: This is a primary national project?
1:44:50 The phrase community and what are community-medias?
1:47:45 Thanks for coming along!
1:48:22 Radio Student goes Radio Corax – from Lublijana to Halle
2:25:36 Interview with Lale Rodgarkia-Dara and Karl Schönswetter
2:47:00 Music: Revolution Void – Implanted Information

Daneben gab es Besuch von NearMedia aus Dublin, welche ein aktuelles lokales oral-history-Projekt vorstellten. Neben den Besonderheiten der “Erinnerung von unten” berichteten sie auch über ihre derzeitgen Pläne zum Thema Archivierung (en).

Die Frage nach einem/einigen historischen Moment/en des Projektes CAPTCHA im Jahr 2013 an Beteiligte zu Beginn des Jahres 2014 wurde sehr unterschiedlich beantwortet. (en)

Dagmar Brunow (Universität Växjö, Sweden; FSK – Hamburg) berichtet im Gespräch über die Archivierungspraxis beim Freien Radio in Hamburg, über Schwierigkeiten, Unmöglichkeiten und Wünsche der zukünftigen Gestaltung praktikabler Methoden. (de).

Ein Fund aus dem Archiv bei Radio Corax aus dem Jahr 1994 macht die Bedeutung eines nichtkommerziellen lokalen und zugangsoffenem Archiv deutlich.

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (june 2015).

2:38 Music: Revolution Void – The turtle speaks
9:36 Übersicht über Konferenz und Veranstaltungen
17:30 Music: Torley – Vampires
21:10 About the History of FEM-FM
53:30 Music: Avni – Vocalize
59:15 Guests from NearMedia/Dublin; Topics: Oral history in Southside and archiving at NearMedia
1:27:07 Music: Emorej – Elvis Fan
1:38:50 Looking-Back: Audio-Recording/beginn 2014: Historical moment @Virag
1:43:00 Historical moment @Franz
1:45:43 Historical moment @Helen
1:50:03 Music: Nokom Electro – V-Lan
1:53:07 Gast: Dagmar Brunow
2:09:15 Music: Ejouhaki – Nostalgia
2:16:52 Gast: Dagmar Brunow
2:33:00 Music
2:40:04 Radio-Corax-Archiv 1994 – Demonstration in Halle gegen Kürzungen an der Universität
2:49:06 Music: Roy – Clubbing with Roy

Mit dabei: Gregor Kliem, Franziska Stübgen, Helen Hahmann

Zu hören sind Eindrücke von einem Besuch bei Radio Tilos in Budapest, Aufnahmen einer Zugfahrt und historische Aufnahmen aus dem Archiv von Radio Corax (von Magnetbandkassette) von Mitte der 90er Jahre mit Kritik an der Medienlandschaft.

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (June 2015).

CAPTCHA Radio Shows #1 – #20: available on cba.fro.at; Radio CORAX, Halle

Living Archives: An oral reflection of North Dublin; NEAR Media, Dublin

Songs of Dublin; David Knox, Dublin

Wendefokus Archive: An oral history of the year 1989 in Halle/Saale; Radio CORAX, Halle

radiocorax.de Archive: A new way to display radio content; Radio CORAX, Halle
[still in process]

VISUALIZATION TOOL

UVisualize! – An easy to use yet powerful visualisationtool for WordPress; Radio FRO, Linz

STUDY

Community radio broadcasters in Germany and online archiving: Are we there yet?; CEU, Budapest, Joost van Beek

Final Report: Bold strides or tentative steps? How community media share and archive audiovisual content online

CONFERENCES

Radio Archives in European Community Media; Radio CORAX, Halle

ARCHIVIA14 – Online Archives for Cultural Diversity in Europe; Radio FRO, Linz

WORKSHOPS

Online Publishing and Archiving in Community Media; Radio CORAX, Halle

Community Media Archiving: What is worth Archiving?; Near Media, Dublin

Technical Archiving Infrastructure; Radio CORAX, Halle

How will we remember the history and the sound of today’s community radios in the future, and what in particular will we remember about them? How are free radio stations recording and documenting their programmes?

The content being created by free radio stations across Europe is often only partially or intermittently documented and archived, and only a small percentage of these broadcasts is available online as podcast.

We collected best practices of archiving methods, asked radio activists to present their online tools or other software systems which has been developed to save audio content.

Please feel free to listen and spread the audio recordings of the presentations:

Radio Archiving Practice. Remediating Sonic Memories  by Dagmar Brunow, Universität Växjö, Sweden

LARM Audio Research Archive – Opening radio heritage for research use  by Jacob Kreutzfeldt, University of Copenhagen

Re-sounding feminist radio: using radio archives as transnational connectors  by Caroline Mitchell, University of Sunderland, UK

Bold strides or tentative steps? How community media share and archive content online  by Joost van Beek & Kate Coyer, Central European University Budapest, Hungary

Radio Urban FM, Prishtina, Kosovo  by Berat Gashi, Radio Urban FM, Prishtina, Kosovo

30 years rolled by: Archiving physical archives of oldest European non-commercial student radio station Radio Študent Ljubljana  by Marko Doles & Andraž Magajna, MTLRŠ, Ljubljana, Slovenia

From manual analogical recording to Radioco, our Free Software automatic digital archiving of live broadcasting system at CUAC FM  by Jose Maria Casanova, Fernando Souto & Isabel Lema Blanco, CUAC FM, A Coruña, Spain

Our current archiving method  by Daniele Fisichella & Amy Nomvula Smith, Future Radio, Norwich, UK

Programme calendar as archive: calcms  by Milan Chrobok, Pi Radio, Berlin, Germany

UVisualize! – Visualisation tool for open archives  by Ingo Leindecker, Radio FRO, Linz, Austria

Archiving at Frequence Sille since 2003  by Frank Pohu and Fréquence Sillé, Sillé le Guillaume, France

Taxonomie der sonoren Ordnung  an artistic performance by Lale Rodgarkia-Dara & Karl Schönswetter, Vienna, Austria

Preserving audio memories – A discussion about the prospects and demands of free radio archives  a round table discussion with Ingo Leindecker from the Cultural Broadcasting Archive (Austria), Ralf Wendt from Radio CORAX (Germany), Dagmar Brunow from the Universität Växjö (Sweden), and Joost van Beek from Central European University (Hungary)

Please find some visual impressions and detailed informations on the conference on our conference website.

Ergebniszusammenfassung als Download hier.

Ausgangspunkt

Community Medien dokumentieren und archivieren ihre Beiträge und Sendungen seit Anbeginn ihrer Geschichte oft nur unvollständig. Das Veröffentlichen von Sendungen im Internet wird teilweise schlicht vergessen, als zusätzliche Belastung vertagt oder passiert als Letztes im Radioalltag. Eine geförderte, strukturierte Archivierung wie bei öffentlich-rechtlichen Anstalten gibt es bisher nicht. Es fehlt sowohl an infrastrukturellen als auch personellen Ressourcen, die eine strukturierte Archivierung von Produktionen ermöglichen würde.

Nahezu jedes Community Radio in Europa hat sich vor diesem Hintergrund ganz eigene Strukturen und Tools geschaffen, um Sendeinhalte zu speichern. Produktionen wurden mit mehr oder weniger umfangreichen Metadatensätzen ausgestattet und auf lokalen Servern mit meist ungenügender Publikumsanbindung abgelegt. Einige Radios programmierten eine Automatisierung für den Upload ihrer Sendungen ins Internet oder auf eine Archiv-Festplatte. Einige wenige exemplarische Online-Archive entstanden, in welchen zumindest eine Auswahl an Produktionen nachgehört und zur redaktionellen Weiterbearbeitung verwendet werden kann (z.B. http://www.cba.fro.at oder http://www.freie-radios.net).

Aus dieser Situation ergeben sich vor dem Hintergrund der gegenwärtigen Mediennutzung akute Defizite. Die Studie zu Community Medien Archiven von der Central European University Budapest resümiert, dass die Bereiche „Archiv“ und „Online Publishing“ in nahezu allen Freien Radios (bzw. Community Medien) in Europa den Mediatheken und Online-Angeboten anderer Rundfunk- und Fernsehanstalten weit hinterherhinken (Die Studie wird im September 2015 veröffentlicht). Community Medien nutzen bisher nur einen Bruchteil der potentiellen Chancen, die der immer wichtiger werdende Verbreitungsweg „online“ bietet.

Gleichzeitig geht mit der unstrukturierten Speicherung des Radioprogramms ein Teil Rundfunkgeschichte verloren. Der Klang der freien Radios aus einer über 30-jährigen Geschichte in Deutschland ist derzeit nur partiell rekonstruierbar. Woran werden wir uns in der Zukunft erinnern, wenn wir an Community Medien denken? Michael Nicolai vom AMARC Europe Vorstand verglich die Situation mit in den 1970er Jahren gebauten Neubauten, die heute bereits wieder abgerissen sind. Einzig eine Wiese, eine leere Fläche haben sie zurückgelassen.

Ergebnisse

1 – Der „Online“-Bereich ist ein neues Aufgabenfeld der Community Medien

Auch Community Medien müssen sich mit der Veränderung der medialen Welt auseinandersetzen und Strategien entwickeln, die das Teilen von Produktionen und die Interaktion im Internet fördert. Community Medien müssen anerkennen, dass der Bereich „Online Publishing/Archivierung“ eine ebenso wichtige Funktion freier Medien ist, wie die Bereiche Technik, Administration und Ausbildung. Zur Entwicklung und Umsetzung neuer Online-Strategien ist es wünschenswert, eine personelle Stelle zu schaffen, die den Online Bereich koordiniert. Eine solche Stelle fungiert als Schnittstelle von Sendungsmachenden bzw. Redaktionen mit dem Online-Bereich des Radios. Sie koordiniert die redaktionelle Bearbeitung von Radioproduktionen für das Internet.

Neben der redaktionellen Tätigkeit müssen auch die infrastrukturellen Umbrüche im Medienbereich mitgedacht werden, z.B. wird die Nutzung von Smartphones neben Computern immer wichtiger. Nur wenige Community Medien verfügen heute über Smartphone Apps, die das Auslesen ihres Programms ermöglichen. Auch für den technischen Bereich bedarf es die Entwicklung und Umsetzung eines Konzepts, um sowohl die Webseiten und Archive zeitgemäß gestalten und verwalten zu können, als auch neue Applikationen entwickeln zu können.

2 – Archivmaterial nutzen

Archive sollten als Materialpools aktiv zur Produktion und redaktionellen Erstellung neuer Beiträge und für wissenschaftliche Untersuchungen zur Verfügung stehen. Für den redaktionellen Bereich ist die Entwicklung einer Strategie wünschenswert: zum einen ist die klassische Nutzung von Archivmaterial (für neue Produktionen) denkbar, zum zweiten ist eine erweiterte Nutzung und Verbreitung mittels neuer Visualisierungstools vorstellbar, zum dritten eine Erweiterung der Archive als redaktionelle Arbeitsflächen, die redaktionelle Prozesse, Materialien und Recherchen offenlegen und kollektive Produktionen ermöglichen.
In diesem Zusammenhang kann auch die Bildung eines Archivs der Europäischen Community Medien ins Auge gefasst werden, das als physischer Ort die Grundlage für weiterführende Forschungen, Recherchen, Studium und wissenschaftliche Arbeiten vorhält.

3 – Urheberrecht modernisieren

Bereits die Konferenz Archivia14 in Linz hat gewarnt: “Das kulturelle Erbe im Internet ist in Gefahr!” Die rechtlichen Rahmenbedingungen für Online-Archive, Mediatheken und Repositorien seien veraltet, sowohl auf nationaler als auch europäischer Ebene. Es müssten geeignente rechtliche Rahmenbedingungen und ausreichend finanzielle Mittel für die Digitalisierung, Bewahrung und Zugänglichmachung kultureller Güter geschaffen werden. Schrankenregelungen für nichtkommerzielle und öffentliche Institutionen und ein zu schaffender Digitalisierungsfonds könnten ein erster Lösungsansatz sein. Politik und Gesellschaft müssen sich fit machen für die digitale Zukunft.

4 – Ausbildungselement „Online Publishing“

Aspekte der Beschreibung, Verschlagwortung, Dokumentation und Online-Veröffentlichung von Produktionen sind in der Praxis vieler Community Medien unterrepräsentiert. Vielen Akteuren fehlt es an Know-How wie und wo Beiträge archiviert oder wiederveröffentlicht werden. Den Radiostationen selbst fehlt das Wissen um vorhandene freie Infrastrukturen zum Aufbau eigener Archive. Deshalb sollten medienpädagogische Konzepte und Methoden entwickelt werden bzw. Bildungsangebote geschaffen werden, die den Akteuren die Nutzung dieser neuen Möglichkeiten nahe bringen. Ziel einer solchen Maßnahme ist es, dass die Akteure ihre Online-Archive zukünftig bewusster und damit aktiver nutzen.

5th of June 2015

mp3-stream (direct link)

Radio CORAX Livestream

Live-Radioperformance: Taxonomie der Sonoren Ordnung

Categorising, tagging, assigning and conducting research as a creative process. Where do art and order come together? How do artists use archives or archived material? Does the digital card index therefore need a digital artist? How can digital archives be handled artistically? What are the interests of community radio stations? What is the infrastructure like? Lale Rodgarkia-Dara and Karl Schönswetter want to use a live (radio) performance to transform material from archives and on-site recordings into a live feedback transmission and thereby establish a seamless transition between a reticent lecture and an in-your-face live show. What happens if the public annotates the transmission and creates a new work of art out of the archive molasses? An acoustic overwriting of a long day of busy conferencing mixed with archive material from the conference participants. Well, now we know.

Lale Rodgarkia-Dara, born in Vienna, Austria. She works as a writer, radio-maker and “soundinstaller”. She tries to develop a new Electroacoustic Literature, that enables writers to read and perform in a collective (with electronic artists and humans) and as individuals with a distance to their own texts. Founded the monthly Elektronik Teatime and is producer at the international art-radio-network radia and part of the Mz. Baltazar’s Laboratory Collective and several other collectives. 2014 working as an external lecturer at the interdisciplinary centre for urban culture and public space at the Vienna University of Technology.2015 Artist in Residence at the Bioart Laboratory der Universidad Maimonides, Buenos Aires.

Karl Schönswetter is a founding member of the gold extra cultural association, Salzburg (established 1998, a member until 2007), producer of a weekly hip-hop radio show at Radiofabrik Salzburg (2000-2007), 2010 to 2011 editor at Supertaalk.at (Staffel 1), since 2011 a producer for the Vienna team of Radia.fm at Radio Orange 94.0, responsible for the (co)production of three Radia broadcasts: nitropic, Radio Convoy and Radiagund.

The English Reader – with texts about
1) “The NEAR Archiving Project in Ireland” by Paul Loughran,
2) “Ten propositions on the practice of archiving community radio” by Dagmar Brunow and
3) “A question of archiving quality” a conversation between Joost van Beek (Central European University) and Michael Nicolai (Radio CORAX).

Reader mit deutschen Texten –
1) “Die Phänomene des Digitalen und die urheberrechtliche Regulierungsnot” von Joachim Losehand,
2) “CBA – die Radiothek der Freien Radios Österreich” von Ingo Leindecker und
3) “rescue – reproduce – replay. Zur Notwendigkeit frei zugänglicher online-Archive” von Johannes Wilms

José and Fernando will talk about their experiences in digital audio recording, media archiving and publishing, recording scheduling, time synchronization and its integration with a mobile application and website. They will show how technology has impact in how we manage the organization and the quality of our contents. They recently developed in collaboration with Student of a Master Degree Thesis at University of A Coruña a broadcasting radio recording scheduling system called RadioCo.

RadioCo manages automatically the audio since the programmes are scheduled to being published as a podcast. RadioCo has been designed to be managed from a web browser, to manage the scheduling of the radio station, to record the live shows and to publish the RSS podcast information included the information provided by each weekly show.
 

Jose Maria Casanova and Fernando Souto are Software Engineers. They will present RadioCo at the CAPTCHA Radio Archives Conference on friday at 3.30 pm. More information you find in our programme.

In these conversations, witnesses talk about how they perceived 1989, how they experienced the time between the fall of the wall and the “reunification”. They tell the story of citizens for whom the old laws no longer and the new ones were not yet applicable; of open spaces that got lost again; of the spirit that claimed GDR socialism was reformable; the story of the gap between individual experience and collective memory of this very period. Besides well-known personalities of today, the Radio Archive Wendefokus offers a platform for people who are heard less often but nevertheless have a lot to say about that special time. The recently published discussions are supplemented on wendefokus.de by analysis and background reports. This radioshow portraits the Wendefokus-Archive.

/”Bei Torsten Hahnel formierte sich eine stark distanzierte Haltung zum Staat, die durch das restriktive Auftreten der staatlichen Repräsentanten noch radikalisiert wurde. Götz Rubisch sendete Mitte der 70er Jahre kurzzeitig in Halle Piratenradio: Nicht ohne Konsequenzen. Alles war ‘zu preußisch, zu militaristisch und hatte mit meiner Idee des Sozialismus nichts zu tun’, sagt Jens-Paul Wollenberg, der von einem guten Dutzend Stasi-Mitarbeiter bespitzelt wurde. Lothar Rochau, der über einen anderen, besseren Sozialismus ‘mit menschlichem Antlitz’ ohne autoritäre Vorschriften in Halle-Neustadt diskutieren ließ, wurde kriminalisiert, vor dem obersten Gericht der DDR angeklagt, verurteilt, ins Zuchthaus verfrachtet und 1983 gegen seinen Willen aus der DDR zwangsabgeschoben: ‘Mir war zum Heulen und ich fühlte mich beschissen.’ […]”

Über Monate fragte Corax, in zumeist sehr persönlichen Gesprächen, nach der Lebenssituation und der Vorstellung von notwendiger Veränderung der Verhältnisse in der DDR. Mittlerweile sind die über 100 ausführlichen Interviews im Internet unter www.wendefokus.de nachzuhören. Warum es sich lohnt jenem Link zu folgen, wird in dieser Captcha Sendung aufgezeigt./

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (May 2015).

Additionally to the conference program we arranged a guided tour through the studios and offices of Radio CORAX on friday, 6:30 pm.

We´ll also have the time to talk and exchange in the evenings. There will be the opportunity to gather together on thursday night at Café NÖÖ and on friday night at Kino&Bar Zazie. More information you´ll find in our “Welcome-Reader” and on the website “participation“.

The participation at the conference is for free. All presentations are translated into English and German.
All guests are kindly asked to take care of accommodation and travel on their own. If you need any suggestions or support, please also contact the above Email address.

We are looking forward to welcome you in Halle and at Radio CORAX.

The first part, “Universal access to all knowledge“ – CAPTCHA Radio Show #11, you can find here. The radio show is bilingual (German, English).

/Ging es in der ersten Sendung zum Internetarchiv über die Entstehungsgeschichte, die Finanzierung des Projekts und einige archivalische Aspekte des Internet Archive wird es in der zweiten Sendung um die verschiedenen Formate, auf den Servern gehostete Firmen und auch die Inhalte gehen. Wo liegen die Grenzen von “collect and protect” und “censorship”? Werden in Zukunft wirklich intelligente Maschinen unsere Anfragen bearbeiten, für uns Inhalte suchen & letztlich über unser Wissen bestimmen?

Die Sendung ist deutsch/englisch sprachig, Teil I mit dem Titel “Universal access to all knowledge“ – CAPTCHA Radio Show #11 findet man hier./

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (May 2015).

Dagmar Brunows contribution places a theoretical perspective on practical questions of archiving. In the film and media sciences, theoretical studies of archiving have been mainly concerned with matters of restoration and digitalisation so far. Dagmar Brunow, however, proposes a paradigm shift. She would like to alter the emphasis of the focus from the contents of the archive as a product for archiving to archiving as a process (and performative act) during the course of which the sources first need to be generated (for example through curator decisions but also categorising/cataloguing, metadata, etc.). Taking the example of the Hamburger feminist artists’ archive „bildwechsel“ and its extremely self-reflective archiving practice, Dagmar Brunow indicates possible methods of archiving (and the reflection regarding this) which can also be of benefit to independent radio stations. The goal is to mentally combine the materiality and discursivity of the archive and in particular to show the significance of archiving for the construction of cultural memory, which is continually created via the media.

Bio

Dagmar Brunow has held the post of editor at the independent radio station FSK in Hamburg since 1996. Her broadcasts (Lorettas Leselampe, Camera osbcura, Spiffy News. Morgenradio der female machos [Female macho morning] have by no means all been archived and even fewer of them are available online. She has taught film sciences and gender studies at various universities in Sweden (Halmstad, Lund Vaxjö, Södertörn) since 1998. Her research is at the interface between media sciences and media memory studies. In December 2014 she completed her doctorate at the University of Hamburg with a dissertation entitled „Remediating Transcultural Memory: Documentary Filmmaking as Archival Intervention“. Publications on: Mediatization of cultural memory, remediation, experimental and avant-garde film, film and video collectives in Europe and media centres in the Federal Republic of Germany, essay film, migration and diaspora in film, feminist film theory, counter-public, alternative media practice, genre cinema, transnationality, archive theory, film and video archives.

LARM Audio Research Archive – Opening radio heritage for research use
Jacob Kreutzfeldt, The University of Copenhagen, Denmark

This talk presents the LARM Audio Research Archive an infrastructure for research in Danish radio and audio heritage and TREAP a platform for transnational research in radio sources. Both are the results of collaborations between researchers, software developers and archives. The LARM platform was developed by the LARM project (2010-2014) to allow researchers to access, collaborate on and share metadata relating to a repository of up to 1 million hours of Danish Radio. The TREAP is presently being developed as a part of the transnational research project TRE (2013-2016) for building up a shared pool of transnational radio references.
I argue for the value – for broadcasters and for researchers – in making huge collections of radio accessible to researchers, and I address some of the challenges to such access in terms of rights management, sustainability and metadata standards. Emphasizing the need for building tools that allow specific kinds of interaction with archive material, the presentation explores the use of radio in a heritage perspective.

Bio
Jacob Kreutzfeldt is Assistant Professor at the Department of Arts and Cultural Studies, The University of Copenhagen. Kreutzfeldt was a part of the management of the national Danish infrastructure and research project LARM and is presently Principal Investigator in the Transnational Radio Encounters (TRE). Kreutzfeldts research focuses on auditory culture, radio history and aesthetics.

Community radio programmes have created spaces for feminist/women’s organizations and acted as connectors (Thompson et al, 2005) between and amongst social and political movements – including women´s movements – and the audience. Archives of women´s community radio stations provide us with access to programmes, documents and accounts of feminist radio activities around the world. Digitalization has contributed to open access, online and collaborative archives and the ability to communicate the women´s movement and everyday acts of feminist rebellion within and beyond country borders.
Caroline Mitchell will present and discuss how Fem FM and other feminist radio archives (e.g. The Pacifica network) allow us to both study cultures of women´s radio production at different points in history and also hear creative activism afforded by women´s radio stations within and beyond national borders.
Drawing on research carried out as part of the Transnational Radio Encounters Project I will look at how archives can help re circulate programmes and thereby re-sound women back into history.

Lit.: THOMPSON, M. E., Anfossi Gomez, K. and Suarez Toro, M. 2005. “Women’s alternative internet radio and feminist interactive communications.” Feminist Media Studies, 5 (2), 215-236.

Bio

Caroline Mitchell has been active in production, teaching and research about community media and women and radio since 1988. In 1992 she was co-founder of Fem FM the first women´s station in the UK. She combines work as a Senior Lecturer in Radio at the University of Sunderland with work in community media evaluation and training. She is currently PI on the HERA Transnational Radio Encounters project carrying out participatory action research with community radio stations.

Bold strides or tentative steps? How community media share and archive content online
Joost van Beek & Kate Coyer, Central European University Budapest, Hungary

Joost van Beek and Kate Coyer present the research they conducted for the European project CAPTCHA – Creative Approaches to Living Cultural Archives on the online archiving and sharing practices of community media. Through a combination of case studies and interviews, they have explored efforts by community media in different countries, with different histories, and starkly varying resources, to facilitate greater access to their valuable audiovisual content online.

Shifting media use patterns mean that even smaller community broadcasters are likely to see an increasing share of their listeners prefer to tune in to their content when, where and how they like. Online platforms for sharing content also provide ways for communities to explore, search and interact with content which linear broadcasting lacks. With their broad networks of volunteers and long tradition of civic participation and innovation, community broadcasters are in some ways especially well-positioned to experiment with these. However, their frequently scarce financial resources and reliance on volunteers also pose constraints.

The researchers conducted close to twenty case study reviews of individual community media websites, as well as some shorter reviews and a national overview of practices among German community media, to analyze the scope of content and features offered and issues of structure, design, navigation and interactivity. In parallel, they conducted over fifteen in-depth interviews with people who have been involved with building or managing online archives or work with them on a day-to-day basis. They gathered further input from a range of community media practitioners at conferences and workshops.

While the research will result in customized recommendations for media at different stages of creating, expanding or re-evaluating their online archives and sharing practices, the researchers will use this presentation to present preliminary findings and invite public feedback.

The study’s interest in best practices extends to the technical and design solutions different stations have arrived at, but is at least as focused on the organizational and conceptual strategies broadcasters are deploying. Conceptually, do they prioritize providing regular radio listeners with the means to catch up with their favourite programs and broadcasts they missed? Pulling in a diverse online audience to explore content by theme or subject? Optimizing the exchange of content between stations? How do they juggle the different accompanying requirements? Internally, how do they establish effective work flow processes and ensure content and archiving standards, while encouraging optimal engagement by volunteer program makers? What training and guidance is provided, and how is user feedback gathered?

Bio

Joost van Beek has been a researcher with the Center for Media, Data and Society (CMDS) of the Central European University in Budapest since 2009, and previously worked at the Open Society Institute. Kate Coyer is Director of the Civil Society and Technology Project for the CMDS and co-organizes the Center’s flagship summer institute on internet policy advocacy. They previously co-authored a book chapter on Community Radio in Bosnia and Herzegovina: Opportunities and Challenges, and they are co-authors of A Safe Space No More? Looming Threats to Internet Freedoms, the Hungary country report of the Internet Freedom Report 2014. Joost was a contributing researcher and editor of Hungarian Media Laws in Europe, and Kate served as project advisor for that study.

Kate has engaged extensively with community media going back to when she helped build community radio stations with the Prometheus Radio Project. In addition to her research on media policy, communication rights, social media and digital advocacy, reflected in publications including chapters in The Handbook of Global Media and Communication Policy and Media Freedom and Pluralism, she co-authored the Alternative Media Handbook, contributed to the Community Media Sustainability Guide, served frequently as public speaker and trainer on community media-related issues, and co-organised several workshops on community media in Europe.

Radio Urban FM is in front of implementing two projects (activities) which have to do with digital archiving: 1) The establishment of a permanent digital library of radio outlets that during the 14 years of existence Urban FM has produced and broadcast. In Kosovo electronic broadcasting media (Radio and TV) starting from next year is passing entirely in digital mode, i.e. there will be no use of analog anymore. As such Radio Urban FM is in the need to exchange experiences and receive “know how” on the issue of digital archiving. 2) One of the biggest projects that Radio Urban FM is planning to initiate in the beginning of 2015 is the establishment of café-library Urban Radio Press Café – a gathering place for journalists, civil society, editors and/or of generally young people where they (while having their regular daily coffee) they will have the opportunity to have access in print and digital radio and press outlets. In the place will be a small library which will include the section where the digital library via PC`s, will be provided to guests. In this sense, when established this library will be unique (the first and only one in Republic of Kosovo) where we will provide audio / radio outlets for guests. People can listen to audio material in our place – starting from short radio stories produced by Urban FM, complete shows of Urban FM VJ`s but also shows and radio outlets from different world wide radio stations, as well books (in audio format), radio- documentaries, radio-drama`s etc.

Bio

Berat Gashi is one of the main coordinators in the process of establishing this café-library of Radio Urban FM in Prishtina.

30 years rolled by: Archiving physical archives of oldest European non-commercial student radio station Radio Študent Ljubljana
Marko Doles & Andraž Magajna
MTLRŠ, Ljubljana, Slovenia

Within Museological-technical laboratorium of Radio Študent (MTLRŠ) project of archiving physical (paper) archives from 1984-2009 has been finished. In collaboration with National Archives of the Republic of Slovenia (Ministry of Culture) we have selected, sorted and catalogued all kind of paper documents created on and connected with Radio Študent. The archival material (some also from very beginnings in 1968-9) contains legal and juridical documents regarding establishment of Radio Študent, old rule books, records of meetings of editorial boards, short and long termed plans of the Radio, internal and external correspondence, financial reports, central register of coworkers, radio listings, texts for broadcasts and programs, lists of played songs, materials about events organized by the Radio, posters and more and more. In the National Archives of Republic of Slovenia fund of Radio Študent has increased from 144 boxes to more than 400 boxes; in other words the fund of Radio Študent has expanded for app. 30 linear emeters. All the archive material is accessible for all scholars, researchers and other enthusiasts.
The short presentation will give a quick inside in the process of archiving paper (physical) documents, its accessibility, meaning, usage and application. It will also highlight our methodology used for (not only paper/physical) archiving – including fieldwork and on-air ethnography, which has been found out for only possible and most prolific way to get some archival material from ex-coworkers and their personal archives. Specific radio program broadcasted live at the end of the project – based on the application of archived material in collaboration with our listeners, composed of micro-reconstructions (which could be seen as one specific way of archiving) – will also be presented.

Bio

Marko Doles lives between Ljubljana and Pivka. As Bachelor of Arts in Ethnology and Cultural Anthropology, he created and launched Museological-technical laboratory of Radio Študent. Since 2004 he works on Radio Študent – as sound technician and member of Music desk. Besides he is drummer, DJ and one of the leading persons in underground movements in Pivka.

Andraž Magajna lives in Ljubljana. Since 2010 he works on Radio Študent – first as program moderator and text interpreter, later also as sound engineer. Since the establishment of MTLRŠ, he is part of its crew. Besides he sometimes takes part in audio interventions, installations and performances. He has graduated in the field of Ethnology and Cultural Anthropology on the Faculty of Arts, University of Ljubljana. He likes punjena vešalica and Wienerschnitzel.

From manual analogical recording to Radioco, our Free Software automatic digital archiving of live broadcasting system at CUAC FM.
Jose Maria Casanova, Fernando Souto & Isabel Lema Blanco
CUAC FM, A Coruña, Spain

CUAC FM, the Community Radio of A Coruña, has evolved from the cassette tape analog recording on its foundation in 1996 to current digital times implementing automatic recording, archiving and publishing systems. This has been a challenge to community radio station but through Free Software technologies, the adoption of organizational policies and plenty of volunteer work it can be possible. CUAC FM is the community radio station that broadcast community programs to the A Coruña metropolitan area. We are located in Galicia in the North West of Spain. It is managed by the Cultural Association known as Colectivo de Universitarios Activos. All this years and diversity have allowed us to deal with the evolution of media archive and recording technologies. This talk will be about the learned lessons over the years in digital audio recording, media archiving and publishing, recording scheduling, time synchronization and its integration with our mobile application and website. We will show the evolution and how technology has impact in how we manage our organization and the quality of the contents. We will present our recently developed broadcasting radio recording scheduling system Radioco developed in collaboration with Student of a Master Degree Thesis at University of A Coruña. This development done by Iago Veloso for CUAC FM is available as open source with GPLv3 license at http://radioco.org/about/, the recording system can even run in a Raspberry Pi as low cost solution. Radioco manages automatically the audio since the program are scheduled to they being published in a podcast. Radioco has been designed to be managed from a web browser, manage the scheduling of the radio station, record the live shows and publish the RSS podcast information included the information provided by each weekly show.

Bio
Jose Maria Casanova, Software Engineer and free software activists that participates in Spoiler, a live radio show about TV series aired on CUAC FM, the community radio that broadcasts to A Coruña Area. He is volunteer in the Technological Committee of CUAC FM leading the migration to GNU/Linux systems and Free Software at the broadcasting station. He has been committed to the promotion of Free/Open Source Software in different communities as GNOME and GPUL. He is also one founders of the Open Source consultancy Igalia. He teach software engineering at the University of A Coruña and has been the director of the computer science degree thesis about Radioco broadcasting radio recording scheduling system.

Fernando Souto, Software Engineer and mobile development geek and entrepreneur founder of Appeiros, a mobile apps development company. He has been a community radio activist that collaborates in the Technological Committee of CUAC FM. He has developed the first automatic recording and publishing system based in scripts and the CUAC FM mobile app for Android and IOS. This app allows the access to the audio archive of the different CUAC FM shows and allows live audio streaming. Fernando stared in the CUAC FM morning humorist show QNEP and now has his own live show Spoiler about TV Series.

We are a community radio based in Norwich (East of England) and we have more than 100 volunteers producing and presenting programmes for us. There is a big need for archiving and categorizing audio pieces and we are currently implementing a new system of doing it.  We are using a play-out system called Myriad to manage our on-air content and we have created different sections within the Myriad’s audio wall for different shows and contents. By using specific log in details and passwords volunteers can access their own archive, save/edit the content as well as add descriptions to the audio track that can be accessed by all the volunteers.  On our Myriad play out system there is a dedicated section called ‘Archive’ that is easily accessible by the live DJs through a shortcut on the play out programme front page. We have also established a naming convention for different shows and contents, using for example BK for Breakfast Show and INT for any interview content. We also use to back up all of our archive into our servers, archiving the tracks for years, content type and creating a special category (called ‘Gold’) where our best interviews are stored and can be used at any point as they are not time specific. All these archiving operations are carried out by a dedicated team of volunteers and coordinate by our Broadcasts Assistants. The archive is also reviewed every 4 months and out of date content is removed.

Bio

Daniele Fisichella, Future Radio Station Manager, works in radio since 2004. Previous work experiences include Italy’s national Radio, University of West London, Peterborough FM and talkSPORT.

Programme calendar as archive: calcms
Milan Chrobok, Pi Radio, Berlin, Germany

Calcms is an internet user interface which enables everybody who works in radio to independently design a radio programme according to agreed rules. This includes programme planning, programme descriptions, post-processing and archiving. Furthermore, Caclms is an interface for the purposes of web-based radio use, e.g. by incorporating the programme in websites, RDS, Twitter, Feeds, Magazin (PDF) and free.fm. Here, archiving takes place by publishing the material in the network. The presentation deals with this and with other possible potential uses of calms.

Bio

Milan Chrobok, technical implementation of various radio projects in Berlin: Radioherbst, Funkwelle, Herbstradio Kinofunk, Radio Einheit, DT64 Festival Radio; since 2010 active at Pi Radio and community radio stations on 88vier; editorial and technical coordination at Pi Radio: playout, live streaming, automatic editing of programmes, user interface for programme schedule management, incorporating the programme schedule into websites.

We meet at the station. It´s located 1 minute by foot from the conference place:

Radio CORAX
Unterberg 11
06108 Halle

The Cultural Broadcasting Archive (CBA) is an audio database by independent radio stations providing a central distribution tool for civil society media production. The publicly accessible exchange and communication platform supports the mutual transfer of radio broadcasts and the publication and referencing of content beyond the respective reach of local radio stations.
The long-term, collaborative archiving of media productions by radio stations from highly diverse regions of Austria and Germany has given rise to a continuously growing pool of alternative media reporting which is available not only for private use but especially for research purposes. In so doing, the CBA maps the social, political and cultural events in individual regions and has, over the last ten years, thus developed into an important contemporary document with strong local ties.
The platform is undergoing continuous further development especially with a view to maximizing its public and is constantly being adapted to the practice and the needs of independent radio broadcasters.

UVisualize! The creation of open access to digital media archives depends not only on political and technical solutions but increasingly demands suitable forms of presenting the content of growing databases. In addition to archiving, this increasingly places questions relating to an intuitive presentation and narration of content in the foreground. The WordPress plugin “UVisualize!” developed on the lines of CAPTCHA enables content to be structured and prepared visually in different ways (e.g. by way of maps, timelines, on three dimensional layers, etc.). In this fashion, collections can be made more narrational and more visually accessible.

Bio
Ingo Leindecker is an artist, cultural worker and self-employed web developer working at the interface between culture, technology and science. Long-term employee of Radio FRO. Actively engaged in the Austrian association of free radio stations. Member of the management team and developer of the Cultural Broadcasting Archive (CBA).

Safeguarding the oral heritage : Back on 10 years of experience in France
Frank Pohu, Fréquence Sillé, Sillé le Guillaume, France

For over 30 years European associative and community radios participate in local life by giving voice to elected officials, association leaders, youth, history buffs, writers, storytellers, musicians and scientists. These radios keep on various media unreleased recordings, testimony of an era, the need to safeguard and promote to contribute to the knowledge of this history marked by many changes, both at local and national level that in Europe. Radios have so far little explored this field of archives that are often abroad. However, it is essential today to launch a reflexion in Europe, combining radio and archives, based on various local expériementations to suggest ways for the establishment of a common methodology that would aims to bring radios and archives, taking into account their own specificity, and propose a retrieval model that meets European standards.

This intervention will therefore consider these aspects :

1. The presentation of an experiment conducted since 2003 by Frequence Sille in cooperation with a departmental center of public records/archives and radio in France
2. The tracks of reflection in Europe based on a discussion between public archives radios and public archives centers
3. A presentation of some theoretical and technical elements that can form a basis for the development of a methodology of a radio archive work.

Bio
Franck Pohu is Project manager and Training Manager of “Fréquence Sillé, Sauvegarde de la parole sarthoise” in Sillé le Guillaume, France.

Jose M. Casanova, CUAC FM, A Coruña, Spain

CUAC FM, the Community Radio of A Coruña founded in 1996, has been streaming audio through Internet since 2006 to increase audience coverage to places where the FM can not reach. CUAC FM uses Icecast Free Software project to publish our audio streams. At CUAC FM, in 2014 we have deployed darkice tool to manage the capture of the audio from the radio station mixer to the Icecast streaming server (<a href=”http://www.icecast.org/%29″>http://www.icecast.org/)</a>. It has allow us to re-encode it in many different codecs and audio containers (MP3, OGG and AAC) in different bitrates having different streams for mobile clients and CUAC FM website. Darkice (<a href=”https://code.google.com/p/darkice/%29″>https://code.google.com/p/darkice/)</a> features powerful options that allow you to dump in realtime to a file the audio that has been processed and with a simple integration of programmed tasks in the GNU/Linux operative system. Now we can maintain a simple structure for the 24hours/365days archive of broadcasting for legal purposes. It also serves as backup system to recover failures from our Live Broadcasting recording system. As complement we have developed simple scripts that manage the naming scheme of the shows archive in a monthly organization and updates the information of the shows in the RDS and internet streaming services. The use of Network Time Protocol has also helped in the synchronization of the split of the archives avoiding shows recorded being cut at the beginning. The talk will try to show the possibilities and how you can setup it in your community radio in a GNU/Linux system supported with Open Source tools.

Bio:

José M. Casanova, is a free software activists that participates in Spoiler, a live radio show about TV series aired on CUAC FM, the community radio that broadcasts to A Coruña Area. He is volunteer in the Technological Committee of CUAC FM leading the migration to GNU/Linux systems and Free Software at the broadcasting station. He has been committed to the promotion of Free/Open Source Software in different communities as GNOME and GPUL. He is also one founders of the Open Source consultancy Igalia.

Categorising, tagging, assigning and conducting research as a creative process. Where do art and order come together? How do artists use archives or archived material? Does the digital card index therefore need a digital artist? How can digital archives be handled artistically? What are the interests of community radio stations? What is the infrastructure like? Lale Rodgarkia-Dara and Karl Schönswetter want to use a live (radio) performance to transform material from archives and on-site recordings into a live feedback transmission and thereby establish a seamless transition between a reticent lecture and an in-your-face live show. What happens if the public annotates the transmission and creates a new work of art out of the archive molasses? An acoustic overwriting of a long day of busy conferencing mixed with archive material from the conference participants. Well, now we know.

Bio:

Lale Rodgarkia-Dara, born in Vienna, Austria. She works as a writer, radio-maker and “soundinstaller”. She tries to develop a new Electroacoustic Literature, that enables writers to read and perform in a collective (with electronic artists and humans) and as individuals with a distance to their own texts. Founded the monthly Elektronik Teatime and is producer at the international art-radio-network radia and part of the Mz. Baltazar’s Laboratory Collective and several other collectives. 2014 working as an external lecturer at the interdisciplinary centre for urban culture and public space at the Vienna University of Technology.2015 Artist in Residence at the Bioart Laboratory der Universidad Maimonides, Buenos Aires.

Karl H. Schönswetter is a founding member of the gold extra cultural association, Salzburg (established 1998, a member until 2007), producer of a weekly hip-hop radio show at Radiofabrik Salzburg (2000-2007), 2010 to 2011 editor at Supertaalk.at (Staffel 1), since 2011 a producer for the Vienna team of Radia.fm at Radio Orange 94.0, responsible for the (co)production of three Radia broadcasts: nitropic, Radio Convoy and Radiagund.

The plenary discussion takes as its point of departure the notion that ever since their inception, non-commercial radio stations, community radio stations, their programmes and their features have often only been partially documented. The archiving and naming of radio broadcasts is often simply forgotten, put off as an additional burden or is the last thing to be done in the everyday work of a radio station. Against this background, nearly every community radio station in Europe has developed its own structures and tools for storing the content of broadcasts. Even in the days of video cassettes, mini disks and CDs, the principles on which numerous hours of broadcast programmes were kept and stored depended on the individual designs of radio producers and technicians – everyone creates extensive media data records – to a great or smaller degree – in order to identify the audio material. What are the consequences of this unstructured form of archiving and what will we remember of the history of community radio in the future? Which (existing) structures have been developed in practice and which have proved their worth? Which archive structures are compatible with the idea of community-based radio stations? What opportunities does organised tagging and storage offer – maintaining the programme archive of community radio stations?

This discussion is widened by the possibility of online archiving, something which is primarily regarded by many members of the radio community as a tool for communication and sharing. However it has become clear, at the very latest since the Internet archive archive.org was founded, that the Internet can be a relevant storage site which not only stores data in a passive fashion, but sets it in motion by promoting and encouraging as much sharing as possible. The free radio stations are faced with the challenge of interacting anew with this tremendous virtual opportunity within their communities and of rethinking their radio stations within the medium of the Internet. What new questions do the community media face as a result of the intensive and omnipresent use of the Internet at the present time? Which new forms and means have the communities already created?

Speakers:

Ingo Leindecker, cba.fro.at, Radio FRO
Ralf Wendt, Portier freie-radios.net and Programme Coordinator of Radio CORAX
Dagmar Brunow, Universität Växjö, Sweden
Joost van Beek, Central European University Budapest, Hungary

Moderation: Stephanie Scholz, Radio CORAX

Please check here.

We invite you to register your participation at the conference till the end of May. The conference is free of charge. There will be German and English translation. If you are interested to join the conference and need further information, please don´t hesitate to contact us: info@livingarchives.eu

The conference is free of charge. There will be German and English translation. We ask for registration till end of May. If you are interested to join the conference and need further information, please don´t hesitate to contact us: info@livingarchives.eu

Keynotes

Dagmar Brunow, Universität Växjö, Schweden:

“Radio Archiving Practice. Remediating Sonic Memories”

Jacob Kreutzfeldt, University of Copenhagen, Denmark:

“LARM Audio Research Archive – Opening radio heritage for research use”

Caroline Mitchell, University of Sunderland, UK:

“Re-sounding feminist radio: using radio archives as transnational connectors”

Kate Coyer and Joost van Beek, Central European University Budapest, Hungary:

“Study on Archiving in European Community Media”

Ingo Leindecker, cba.fro.at and Radio FRO, Austria: “UVisualize! – Visualisation tool for open archives”

Best Practice Presentations

1) Berat Gashi: Radio Urban FM, Prishtina, Kosovo

2) Marko Doles and Andraž Magajna: “30 years rolled by: Archiving physical archives of oldest European non-commercial student radio station Radio Študent Ljubljana”

3) Jose Maria Casanova and Fernando Souto, Community Radio of A Coruña: “From manual analogical recording to Radioco, our Free Software automatic digital archiving of live broadcasting system at CUAC FM”

4) Daniele Fisichella: Future Radio (Norwich, UK): “Current archiving methods at Future Radio”

5) Franck Pohu (Sillé le Guillaume), France: “Archiving at Frequence Sille since 2003″

6) Albert Noguer & Jean-Paul Gambier, Federación de las Radios Asociativas no Comerciales del Languedoc-Roussillon (FRANC-LR), France: “Digitalisation, indexing and publication of the archives of the Community Radios in Languedoc-Roussillon”

Workshop

Jose M. Casanova, Community Radio of A Coruña, Spain:

“How to setup your internet streaming to record and archive your audio streams.”

Round Table Discussion

“Open Community Radio Archives of the future”

Radio Programme

We provide a monthly radio show about community archiving on the Cultural Broadcasting Archive: http://cba.fro.at/series/captcha-documentations-series. During the conference we´ll provide a special programme with interviews and news from the conference via live stream:

Wednesday, 3rd June, 3.10 pm – 5 pm

Thursday, 4th June, 3.10 pm – 6 pm

Friday, 5th June, 3.10 pm – 4 pm

Woodland Kingfisher bird, South Africa CC: Rodrigo Sala, 2009

/Community-basierte Audioarchive beschäftigen uns auch im April. Die Radiosendung CAPTCHA dreht sich sich in diesem Monat – passend zum Frühling – natürlich mit der Möglichkeit, Frühling auditiv zu verstetigen und wie ginge das besser, als durch eine Aufnahme von Vogelstimmen- nichtkommerziell- bundesweit oder gar weltweit – und vor allem: was können die Community Medien daraus lernen? Welche Metadaten verwenden die Archive, damit sie von allen Menschen in der Welt bestückt werden können? Im Gespräch über die kollektive Archivierung von Vogelstimmen: Axel Schonert (ornitho.de), Volker Arnold und Dr. Bob Planqué (xeno-canto.org)./

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (April 2015).

Home & Logo of the Internet Archive: a former Christian Science church in San Francisco

/In dieser primär englischsprachigen Sendung geht es sowohl um die zugrundeliegende Idee des “freien Zugangs zu Wissen” als auch um einige hard-facts eines der größten Community-Archive.

archive.org ist ein seit 1995 aktives Projekt, das vom Informatiker Brewster Kahle in San Francisco mitbegründet wurde, mit dem Ziel eine Bibliothek Alexandria 2.0 aufzubauen. Heute laufen auf verschiedenen Kontinenten Server mit einem Umfang von etwa 19 Petabyte. Gespeichert und zugänglich gemacht werden Daten aller Art: Bücher, Filme, Fernsehsendungen, Radiosendungen, Software, Musik: kurz – alles was Menschen digital produziert oder digitalisiert haben. Und falls nach dem Erscheinen des Internet vor 15 Jahren gesucht wird – die waybackmachine ermöglicht eine Zeitreise per Mausklick./

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (February 2015).

The main questions were and are “What is worth archiving?”, “What is worth republishing?”, “How do we edit material to rebroadcast it or to archive it?”, “Which innovative ways do people use to connect the content of an online archive with further websites and other archives?”.

Inspired by the various questions that arose, we developed a workshop to go more into detail and to think about new ways and innovative alternatives to publish and share content. Beyond that we focused on the possibilities of transferring the knowhow about innovative practices to people who use audio-visual archives and/or radio archives.

Participants joined from Radio Student in Ljubljana, Central European University in Budapest, Radio FRO in Linz and Radio CORAX in Halle.

Andraž Magajna was digging out old broadcasting manuscripts of slowenian Radio Študent. In 2009 people at Študent were able to reconstruct the first broadcast from 1969. The story told by Andraž shows clearly, that the Community Radios on Europe not only have to ask, how they can publish contemporary content on the internet, but also how it is possible to archive material all around the processes, productions and activities of free radios to enable the Radiocommunity to write their local histories.

/Beim Stichwort historische Aufnahmen, mögen viele Menschen an Schellackplatten, vielleicht sogar an Wachswalzen denken. Die Frage nach der Digitalisierung, also Konservierung, von Tondokumenten ist in vielen Bereichen immanent. Die Frage, wie man audio-visuelle Inhalte in zeitgemäße Datenformate konvertiert begleitet jede Person, die Archive anlegt oder pflegt. Am Beispiel des Digitalisierungsprojektes, das das Music Museum of Iran in Kooperation mit der Universität Hildesheim durchführt, wird deutlich, welche Aspekte beim Überspielen der Datenträger zur Diskussion stehen. Der Musikethnologe Samuel Mund vom Center of World Music in Hildesheim koordiniert das Projekt von der technischen Seite her. Radio CORAX sprach mit ihm auf der Konferenz ARCHIVIA14 in Linz. Andraž Magajna holte alte Sendeskripte aus den Archiven von Radio Študent in Ljubljana und rekonstruierte die erste Sendestunde von Študent 40 Jahre nach Erstausstrahlung zusammen mit einigen der früheren Radiomacher_innen. Ein Teil der Ton- und Schriftdokumente aus dieser Zeit liegen in Sloweniens nationalem Archivs. Andražs Bericht macht deutlich, dass sich für die Freien Radios in Europa nicht nur die Frage nach der Online-Bereitstellung von aktuellen Interviews stellt. Der aktive Umgang mit und die Archivierung von historischen Dokumenten, die die Geschichte jedes einzelnen Freien Radios dokumentieren, ist mindestens genauso wichtig./

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (January 2015).

/Nie war der Zugriff auf Wissen so schnell und so umfassend zugänglich, wie heute. An welche Faktoren ist die Utopie eines frei zugänglichen Wissens via Internet gebunden? Diese Fragen stellte mikro.fm dem Kulturanthropologen Manfred Faßler. Faßler ist Medienwissenschaftler und Professor an der Johann Wolfgang Goethe Universität in Frankfurt. Außerdem sprachen wir mit der Rechtsberaterin der Europeana Julia Fallon über die rechtlichen Prozesse beim Aufbau einer digitalen europäischen Bibliothek. Des Weiteren hören Sie einen Hinweis auf den „Call for Participation“ zur nächsten internationalen Konferenz über Freie Audio Archive im Juni in Halle/Saale. Bewerbungen sind noch bis Ende Januar 2015 möglich./

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (January 2015).

Present and share your infrastructure solutions: At the conference we would like to explore and exchange different ways in which community media can preserve, use and share broadcast content. What tools and infrastructures to archive audiovisual material are best suited for community media? Which formats did your station find or create to present audiovisual content online? Which innovative techniques or tools did you develop or are you still looking for?

Archiving methods and archiving culture: A major challenge in building community media archives is how to cultivate archiving as an essential part of radio making. Many programme makers are focused foremost on their “on air” show. What are the best ways to engage them in archiving their programs and sharing them with online listeners? Who undertakes what task: uploading programmes, adding descriptions and tags, promoting them on social media? Are programs uploaded whole or split into specific items, with or without music, and how is the material edited?

The responsibility to archive: How can community archives integrate multilingualism? How can online archiving support programme exchange within Europe? What importance do analogue, physical archives have in the digital age, and how can community media secure and digitize them? How can community media archives unlock historical material about community life and social movements in user-friendly ways? Not least, we encourage proposals dealing with the question of copyright regulations and the role of open software and open knowledge.

For whom?

We invite and encourage programme makers and coordinators from European community media, radio activists, researchers, programmers and technicians to participate in the conference and submit proposals.

Formats of Presentation

We invite proposals for papers, workshops, discussions, presentations and radio shows on any subject related to “Radio Archives in European Community Media”. You can send in proposals in German, English or Spanish.

Proposals that engage the audience in active participation and discussion, or in trying out or evaluating archiving tools or strategies, are especially welcome. Participants can contribute to the conference in a variety of ways, not just by presenting a paper or hosting a discussion in 30-minute slots, or conducting a training or hosting a world café in max. 1 hour slots, but also by publishing a text in the conference reader, broadcasting or producing a radio show during the conference, or creating posters, web features or any other content you find suitable.

Submission

Please send proposals by January 31, 2015, to info@livingarchives.eu. Describe your proposed activity on not more than one page (including title and type of presentation) and include a short biography.

Presenters of accepted proposals will be informed by February 28, 2015. They will be invited to the conference and reimbursed for travel and accommodation expenses.

The conference will be live streamed. For further information please check

our Website: http://livingarchives.eu or

on Facebook: https://www.facebook.com/communitymediaarchives

You can find the Spanish language version of the call here.

Please spread the word!

In a second interview Helen Hahmann talked to Timo Stadler about the history of freie-radios.net, the platform started in 2001 and recently having more than 50.000 uploaded interviews. In the beginning the aim of this platform was to share programs between the German community radio stations. In the last years, it became an important platform for the radio audience too, who likes to listen to an interview again. After all, he states, it is an archive of social movements.

/Michael Nicolai sagt: “Die Entscheidung, welcher Teil eines Radioprogramms noch einmal im Internet zur Verfügung gestellt wird, hängt davon ab, ob ein Interview von der Person, die das Gespräch geführt hat, als gut genug zur Wiederveröffentlichung befunden wird. Ein Gespräch, das live 25 Minuten dauert und dabei lebendig und spannend für Hörende ist, wirkt nicht als Podcast. Deshalb ist es manchmal besser 12 Minuten komprimiert von dem Interview im Internet zur Verfügung zu Stellen.” Joost van Beek von der Central European University in Budapest sprach mit Michael Nicolai Anfang November auf der “Zukunftswerkstatt Community Medien” in Potsdam.

Das zweite Gespräch führte Helen Hahmann. Sie sprach mit Timo Stadler über die Geschichte des Online-Archivs freie-radios.net. Über 50.000 Beiträge sind im Archiv freie-radios.net seit 2001 abgelegt worden. Timo Stadler von Radio Querfunk in Karlsruhe sagt, “wir haben freie-radios.net erst mal als Austauschsystem gesehen, aber auch als weiteres Veröffentlichungsmedium, damit man interessante Textbeiträge nachhören kann. Es ist auch ein Archiv der sozialen Bewegung./

All the music played on the show can be found at freemusicarchive.org and is published under Creative Commons license (November 2014).

The web archives mentioned in the show:
Xeno-Canto
Dokublog (SWR2)
Hörspiel Pool (BR)

/Anschließend an den Artikel von Joost van Beek „Community radio broadcasters in Germany and online archiving: Are we there yet?“ haben wir mit dem Programmkoordinator und Radiotrainer von Radio CORAX Ralf Wendt gesprochen. Er sagt, „ein Archiv wird vor allem dann interessant, wenn es sich um einen Pool mit präzisen Informationen handelt. Bei der Einrichtung eines Archives lohnt es sich, ganz genau darüber nachzudenken, welche Informationen man von den Daten erfragt.“ Ausgehend von einem solchen Archiv können die Daten dann je nach Spezialinteresse mit Videos, Fotos und Texten kombiniert werden. Helen Hahmann fragte außerdem, welche Infrastruktur Radio CORAX nutzt, um seine Radiosendungen zu speichern und welche spannenden online Radioarchive es derzeit gibt?

Die im Beitrag erwähnten Radioarchive:

Xeno-Canto
Dokublog (SWR2)
Hörspiel Pool (BR)/

All the music played on the show is published under Creative Commons license (November 2014).

Analysiert wird der aktuelle Stand bei der Online-Archivierung und beim Online-Austausch unter den Mitgliederradios des BFR. Einige Beispiele werden genauer betrachtet, u.a. Pi Radio Berlin, Radio Unerhört Marburg, Freies Radio Wiesental, Radio StHörfunk, Radio Dreyeckland, Wüste Welle Tübingen, Coloradio Dresden, Radio Corax Halle und Onda „Agencia Radiofónica Latinoamérica-Europa“ Berlin.

Der Artikel „Community radio broadcasters in Germany and online archiving: Are we there yet?“ ist komplett nachlesbar HIER.

Die vollständige Studie wird im Juli 2015 veröffentlicht. Sie fußt nicht nur auf der Analyse von Archiv-Lösungen auf Radio-Webseiten, sondern auch auf Interviews mit Koordinierenden verschiedener freier Radios in ganz Europa, u.a. in Deutschland.

Joost van Beek, Kate Coyer und Helen Hahmann vom Projekt CAPTCHA, im Rahmen dessen die Studie durchgeführt wird, werden zur Tagung des BFR im November nach Potsdam kommen und bitten Euch um Feedback und weiterführende Hinweise.

Am 29. und 30. Mai 2015 findet bei Radio CORAX in Halle zum Thema „Praktiken des Archivierens in Europäischen Community Medien“ eine zweitägige Tagung statt. Für die Tagung laden wir Mitglieder des Bundes Freier Radios ausdrücklich ein, Vorschläge für Referats- und/oder Workshop-Themen einzureichen: info@livingarchives.eu.

ABSTRACT

This article tallies and describes the extent to which German community radio stations have engaged with digital sharing, at a time when an ever growing online audience is getting used to being able to find and listen to programs when and where it wants. Live streaming has become ubiquitous, but many fewer stations make a significant part of their individual programs accessible online for people to listen back to and share with others. Podcast feeds are available in some cases, but their user-friendly potential is underutilized.

Still largely missing is an optimally user-friendly model which more fully uses the opportunities that now exist to publish, share and preserve programs online. Only around one in five stations that belong to the national umbrella organisation of community radio organizations BFR makes it possible to access audio content by topic, program, and/or date – and some of those offer one or the other of these options but not all. Fewer still use topical tags or advanced search options.

On the bright side, few stations rely on commercial, third-party services to archive their files, especially in comparison with other countries. This may well be thanks to the existence of an online, BFR-run program exchange platform. This website, Freie-Radios.net, suffers from an outdated design and a lacking appeal to casual listeners, but provides an important archiving and exchange tool for especially the smaller German community stations, and the relative thoroughness of its archiving practices constitutes an example of good practice.

This review raises several strategic dilemmas bedeviling German community radio sites, and presents examples of stations which successfully navigated one or the other. How to expand existing options, such as podcasting, with relatively little effort? How to meet potentially conflicting needs and interests of different audiences, for example for archived information about all past broadcasts versus access to only audio content? How to marry an advanced level of archiving detail and customization with attractive, public- and mobile-friendly design? It does not yet address other dilemmas being explored in ongoing Captcha research through interviews at radio stations across Europe, such as how to involve, motivate and guide volunteer program makers in online archiving.

AUTHOR

Joost van Beek, Center for Media, Data and Society, Central European University

FULL ARTICLE

View or download as PDF file: Community radio broadcasters in Germany and online archiving: Are we there yet?

Das Oral History Archiv “wendefokus.de” von Radio CORAX über die Zeit vor und um 1989 ist online: Das freie Radio in Halle, Radio Corax, fragte über Monate in zumeist sehr per­sön­li­chen Gesprä­chen nach der Lebens­si­tua­tion und der Vor­stel­lung von not­wen­di­ger Ver­än­de­rung der Ver­hält­nisse in der DDR. Zeit­zeu­gen und Zeit­zeu­gin­nen berich­ten über das Jahr 1989, erzäh­len, wie sie die Zeit zwi­schen Mau­er­fall und “Wie­der­ver­ei­ni­gung” erlebt haben. Sie erzäh­len von Bür­gern, für die die alten Gesetze nicht mehr und die neuen noch nicht gal­ten, von Frei­räu­men, die auch wie­der ver­lo­ren gegan­gen sind, vom Geist eines refor­mier­ba­ren DDR-Sozialismus, von der Kluft zwi­schen indi­vi­du­el­ler Erfah­rung und kol­lek­ti­ver Erin­ne­rung an die Zeit. Neben heute bekann­ten Per­sön­lich­kei­ten Hal­les fin­den auch Per­so­nen Gehör, die sonst wenig zu Wort kom­men und den­noch eini­ges zu erzäh­len haben. Ergänzt wer­den die hier nun ver­öf­fent­lich­ten Gesprä­che durch Ana­ly­sen und Hintergrundberichte.

Press/Presseecho:

FREITAG, 28.10.2014, Wahre Demokratie von Michael Suckow

NEUES DEUTSCHLAND, 30.10.2014, Erinnerung und Unbehagen. Radio Corax hat Interviews online gestellt, in denen Zeitzeugen über das Ende der DDR reflektieren von Ralf Hutter

Kraftfuttermischwerk.de, 7.10.2014, Über 100 Interviews: Radio Corax’ Wendefokus – Persönliche Blicke auf den Herbst ’89

Hallesche Störung, Wendefokus geht online

The original language version of all lectures are available in audio:

http://www.archivia.at/nachhoeren/

…and in video:

http://www.archivia.at/videos/

All the music played on the show is published under Creative Commons license (September 2014).

Helen Hahmann –project coordination

Virág Bottlik – PR coordination

Franziska Stübgen – design

Georg Wellbrock – programming documentations series

Marian Mortell – webprogramming

CEU

Kate Coyer – coordination, leading researcher

Joost van Beek – researcher

FRO

Ingo Leindecker – coordination, event management, programming webtool

Thomas Diesenreiter – coordination, event management

NEAR

Paul coordination, event management

David Knox – event management, metadata management

Allen programming documentation series

All the music played on the show is published under Creative Commons license (August 2014):

Steal 4 Ram – Crash
Sphere – Deleted
Misstrabant – Fabrik; Bicocca; Delete
A Ninja Slob Drew Me – Cut; Student Gene Pool
Macaco Mao – 2Lcohen expensive; 4delete delete; Wired
Torley on Piano – Brilliant ideas
Delenda – Voices; Answers without words
Dead Channel – Delete
Tempus Fugit – Cut paste and delete poetry
Nocom Electro – Hic

Conference programme (Location: Wissensturm)

6^th September 2014

9:30 AM

Registration and breakfast (with friendly support by Open Commons Region Linz)

10:00 AM

Welcome and introduction

10:30 AM

Brave new world! Challenges and strategies of online archives and repositories (Maria Seissl, Head of the Service Department for Libraries and Archives at the University Vienna)

11:30 AM

Workshops

12:30 AM

Workshops

1:30 PM

Lunch break

2:30 PM

“Preserving cultural heritage in the digital information society” – Panel discussion about the actual practices of archives, media centers and libraries with Gerhard Baumgartner (Dokumentationsarchiv des österr. Widerstands), Julia Fallon (Stiftung Europeana), Max Kaiser (Österreichische Nationalbibliothek) and Hermann Lewetz (Österreichische Mediathek). Moderation: Anna Masoner (ORF Ö1)

7^th September 2014:

10:00 AM

Registration and brunch

10:30 AM

A National Library for the 21st Century – Content and services in The Digital Library (Roger Jøsevold,  Nationalbibliothek  Norway, Oslo)

11:15 AM

Copyright and cultural heritage – a construct between reality and fiction (Paul Klimpel, iRights Lab Kultur. Berlin)

12:00 AM

Memory institutions, online archives and copyright (Felix Trumpke, OLG Frankfurt/Main)

12:45 PM

Lunch break

1:45 PM

Mass-digitization and (extended) collective licensing: the way forward? (Stef van Gompel, Institute for Information Law, Amsterdam)

2:30 PM

Electronic Reading Terminals – ECJ Case TU Darmstadt vs. Eugen Ulmer in its European Context (Diana Ettig, Hogan Lovells, Frankfurt/Main)

3:30 PM

“New framework conditions for the accessibility of cultural heritage” – Panel discussion about the legal framework conditions and the possibility of their improvement in the digital information society with Diana Ettig (Hogan Lovells, Frankfurt/Main), Stef van Gompel (Institute for Information Law, Amsterdam), Roger Jøsevold (Nationalbibliothek Norway, Oslo), Paul Klimpel (iRights Lab Kultur, Berlin) and Felix Trumpke (Legal intern at OLG Frankfurt/Main)

Moderation: Leonhard Dobusch (Professor for organisational theory, FU Berlin)

You can follow the talks and panel discussions online on http://www.archivia.at/live-streaming/

For more information please visit http://www.archivia.at/?lang=en

In this radio show we also pay a visit to a private CD archive with an unusual method for arranging its content: electronic to acoustic, serious to cheerful are the criteria that define the place where a CD belongs. We asked the owner how effectively this method works.

/Seit knapp einem halben Jahr suchen wir im Rahmen des Projektes CAPTCHA nach nachhaltigen Archivierungsmethoden für Community Media. Helen Hahmann von Radio Corax ist die Projektkoordinatorin und steht regelmäßig in Kontakt mit den beteiligten europäischen Partnern. In der folgenden Sendung spricht sie über die Anfänge, bisherige Erfolge und Schwierigkeiten sowie den künftig zu beschreitenden Weg. Dabei wird schnell deutlich: dass nicht alles vordefiniert ist macht es nicht unbedingt leichter.

In dieser Sendung besuchen wir weiterhin ein privates CD-Archiv mit einer besonderen Methode den Inhalt zu arrangieren: Elektronisch bis Handgemacht, Ernst bis Heiter sind die Kriterien welche den Standort bestimmen. Wie effizient das ist wird nachgefragt./

All the music played on the show is published under Creative Commons license (July 2014):

Akashic Records – Grooving Robot

JCRZ – Dialing to Nowhere

Social Bot – Death Machine

Revolution Void – Ode to Sun Ra

Carl Andre – In The Machine

Marius Joppich – Glockenspiel

Emorej – Twitch

Quantum robot – Happy outro Dance dance little robot

Social Bot – Head Cold

Pornophonique – Sad Robot

In this radio show CBA (Cultural Broadcasting Archive) activists Thomas Diesenreiter and Ingo Leindecker tell us about the past and present challenges regarding programming and maintaining this exchange-platform. Beside topics like solutions for long term preservation and copyright issues in Austria they speak about their experiences with commercial hosting services. Last but not least questions are raised about their plans and commitments within the CAPTCHA project.

All the music heard on the show is published under a Creative Commons license (June 2014):

Delenda – True

Delenda – Urban dictionary

Delenda – Good time

Delenda – Baruc

Arbalord – Lo

Starlight – Nouvelle aventure

Most of all, the discussion brought home how divergent the capacities of different stations are, and how ‘best practice’ recommendations must be tailored to existing possibilities, however modest. Working on a non-profit basis with mostly volunteers, community media have to grapple with particularly pronounced choices in how, what and where to archive. In this context, attendees discussed the tension between the practical advantages and strategic disadvantages of using third-party online services like Soundcloud, Mixcloud and Vimeo.

Such services provide easy-to-use, low-cost ways to upload and share materials, which can function as convenient shortcuts when the time, cost and know-how required for archive and website design, volunteer training and hosting packages are in scarce supply. They also provide low-threshold statistical info and sharing options. Their limited categorization options are geared for sharing rather than archiving purposes, however. Perhaps most importantly, relying on such services means a station becomes dependent on an external, commercial party for the online preservation and availability of its programs as well as the living archives built around them, from tags to audience interactions. The long-term existence of these services is not guaranteed, as MySpace has demonstrated, and instead of being able to freely develop new archive functions or interfaces, a station becomes in part reliant on corporate development choices beyond its control.

Nevertheless, their attraction for especially small community stations is self-evident, and their use fits within a broader trend of even much larger organizations delegating functions like search and mapping on their websites to commercial third-party applications. Moreover, even if a station doesn’t use them officially, individual program makers will, potentially creating diasporas of content. The experience of one of the stations attending the small discussion therefore underlined the need to make consistent choices about what to upload where, use embedding options to optimize the accessibility of programs, and present clear information to website visitors.

You can find the photo documentation of the Civilmedia14 UnConference here.

Focus on European projects

In 2012, the ARCHIVIA conference already focused extensively on the challenges of digitizing archives, and the impact of digitalization on the legal questions surrounding archive material. This year, Archivia 2014 will in particular highlight examples of current and past online archiving projects from around Europe, what can be learnt from these experiences, and what best practices can be identified.

Invitation for participation

ARCHIVIA 2014 invites private and public libraries, museums and archives from all over Europe to take part. Come share your ideas and experiences on how online archives can deal with the challenges at hand, present your plans and projects, and discuss possible solutions and scenarios going forward! The conference will address both a professional audience and the broader, interested public.

Online archives for cultural diversity in Europe!

The conference aims to increase public awareness of the social relevance of digital online platforms in Europe. In our view, online archives will be a key tool for the dissemination, preservation and promotion of the diverse cultural heritage of Europe in the future.

Submissions

Proposals for lectures or workshops, containing a title and an abstract of no more than 250 words, should be submitted in English or German (preferably as PDF file) at http://www.archivia.at/?lang=en. The submission deadline is 31 July 2014. For more information, contact Dr. Joachim Losehand, office@archiva.at.

In this show you will hear some acustic impressions from Dublin, eg. the visit of the community radio NearFM, whose founder Jack Byrne (NearMedia) reports about the history of the station. Gavin Byrne (NearMedia) tells us how NearFM is archiving their shows and introduce us in the online podcasting system.

Call for Participation EN,
Deadline 31.01.2015:
“Radio Archives in European Community Media” 

Convocatoria de participación ES,
Deadline 31.01.2015:
“Radio Archives in European Community Media” 

01.10.2014, EN
Second CAPTCHA press release – ARCHIVIA14 report

01.10.2014, D & EN
Second CAPTCHA press release – cover letter

17.06.2014, D & EN
First CAPCHA press release – cover letter

First CAPCHA press release – project introduction

Deadline 31.07.2014, EN
ARCHIVIA 14 – Open Call

Programme of the Seminar “What is worth Archiving?”

09.30am – Registration with tea/coffee

10.00 – Chair of the event Ciaran Murray welcomes attendees and introduces the opening address from Kate Coyer from the Central European University in Budapest

10.15 – Continuing to build a digital repository for Ireland and ways of prioritising material – Sandra Collins from the Digital Repository of Ireland

10.30 – Connemara Community Radio Archive – Grainne O’Malley

10.45 – The BAI Archive Scheme – what it is, what it does, how it can apply to you? Elizabeth Farrelly

11.00 – The Importance of Local – Jack Byrne of the Near Media Co-Op

11.15 – Question & Answers, audience & panel.

11.35 – Break for coffee

11.45 – Round table facilitations for comment feedback on what has been discussed so far

12.15 – Break

12.30 – Workshops – Choice of 1) Podcasting with Gavin Byrne or 2) How Machines Find Us with Dave Knox

13.15 – Reconvene for compilation of comments/feedback/ review – this will form a report on the mornings activities for the CAPTCHA EU Culture Initiative

13.30 – Lunch (served in the bar, first floor of Teachers Club)

Speakers of the Seminar “What is worth Archiving”

• Chaired by Ciaran Murray, Near Media Co-Op Overall Coordinator
• Jack Byrne, former chairperson, Near Media Co-op and former President, AMARC Europe (European association of community media broadcasters)
• Kate Coyer is the Executive Director of Central European University’s Centre for Media and Communication Studies in the School of Public Policy.
• Dr Sandra Collins is the Director of the Digital Repository of Ireland (DRI).
• Elizabeth Farrelly – Broadcasting Authority of Ireland
• Grainne O’Malley – Station Manager, Connemara Community Radio
• Gavin Byrne – fulltime IT coordinator with Near Media Co-Op
• David Knox – Media Scientist

Workshops of the Seminar “What is worth Archiving?”

1. Podcasting by Gavin Byrne
Gavin Byrne guided us through a ‘step by step guide to podcasting’ via WordPress. From installing a client to saving the file as mp3, uploading the audio, loading content such as text and visuals and tagging. This was a comprehensive guide in how to make a successful podcast. Gavin also covered audio hosting services soundcloud and mixcloud. Near FM have an extensive library of podcast material available at www.nearpodcast.org

2. How do Machine’s find us by David Knox
This workshop looked at how users find information on the internet, how they search and in turn how search engines work. It highlighted how and why search engines considering data (text/sound/video files etc) “good” or “worthy” and how they weigh the validity of this data. It also looked at how a user will submit data to a website so that it is found.

50 people attended the event from 26 different Irish and European organisations like community radios and TVs, archives, universities, libraries, museums and others.

The conference convened by the Austrian Association of Independent Radio Stations (VFRÖ) and Radio FRO in the context of ARS Electronica Festival 2012 (The Big Picture) was held on 31 August and 1 September 2012 in the Wissensturm Linz.

Since digitization, much has changed in the structure of information and communication. One of the strongly affected areas are archives. What was  discussed was not only the technical implementation and durability of digital archives, but also their social function. Whereas for a long time, archives were accessible only to a limited public and consequently irrelevant for the chain generating royalties and revenues, digitization and, above all, the internet offer the potential for opening up archives to the public worldwide.

Whether these archives, made available worldwide, impair the chain generating royalties and revenues or not depends upon the content made accessible; a film archive available worldwide can impair the generation of royalties and revenues, just as it can do in musical or literature (e-books). Other archives, such as radio station archives, can be made available to the public without disturbing generation of royalties and revenues from the materials used (the inputs). If, for example, music is played in the background of a conversation, or even simply played on the radio in the program-breaks, presumably no one would listen to the radio program in the online archive instead of buying the CD or MP3 file.

Especially in the area of public radio and independent, non-commercial radio stations, a question arises concerning the sense of copyright barriers to access. In both cases in Europe, public financial means are deployed to produce the programs because they are regarded as being socially relevant. Because of copyright limitations relating to making content available on the internet, however, providing open public access to program archives is highly restricted and, in many cases, practically impossible. Even though public moneys are deployed and the use of relevant program-content for linear transmission (terrestrial transmission and live-stream) is appropriately remunerated, apparently, permanent availability is still not possible. The private interests of the copyright owners (even though the potential for generating royalties is not curtailed) are placed above the public interest in information which is manifest also in the statutory public assignment and the public financing of non-commercial, independent radio stations.

At Archiva 2012, problems with archiving content or making it publicly available were illuminated and potential solutions discussed in workshops. Renowned keynotes by scientists, philosophers and experts like Manfred Faßler, Ruth Towse and Till Kreuzer threw light on the problem from the perspectives of media studies, economics and the law. The contribution from media studies showed the social function of archives, the significance of public accessibility and changes thereto in the past two decades. The contribution of economics concentrated on possible inefficiencies and problems of welfare economics triggered by copyright. And the contribution of jurisprudence elucidated the current situation and discussed the prospects for possible solutions, such as the introduction of statutory licenses.

The conference Archivia 2012 brought together opinions and positions of operators, both in Austria and internationally, of archiving and internet projects, statutory public and independent, non-commercial radio stations along with players in diverse fields of art, media and academic disciplines as well as politics. The conference bundled together shared interests to gain an orientation in current academic and political discourse, and to form alliances across the broad spectrum of digital archives. ARCHIVIA 12 was the starting-point for a networked political effort in the sense of creating such political boundary-conditions that appropriately take into account contemporary utilization and the generation of royalties and revenues from the digital cultural heritage.

Two years later, the Archivia 2014 will continue this broad discussion and focus on practical solution strategies. It will be held on the 6^th and 7^th September in Linz in cooperation with the Ars Electronica Festival.

As with most media production, producing your pre-production is always concerned with the who, where, what, when and how of the production. These questions in planning, are also exceedingly important when distributing your content afterwards.  You need to know who your subject is, what they will talk about, where the interview will be held etc.  These things will go a long way to describing your media. No matter the site you’re submitting to, or the type of content, the vast majority of these rules apply.

The major search engines all work in a very similar matter.  They search for valuable content and their criteria for what is deemed valuable, is very similar and simple. They will want, and as a result you will want your content to be well ordered and well formatted.  You want the sentences to be short and legible (see Flesch-Kincaid readability test).  And start at the start.

The most valuable information for search engines is at the beginning; the title, the first sentence, the first paragraph.  The focus of the description should be mentioned in these and throughout the body of the text.  The focus of your media should also be the focus of your description.

Writing a Title for a Media Description

Often when titling a piece of art or media, there can be a tendency to write the title in an abstract or ethereal manner, describing a sense of the piece rather than the content itself.  If you think of film titles, often they have no direct descriptive relationship to the content of the film.  For the purposes of search, unless someone knows exactly what they are searching for, these are largely useless.

The focus of the media should be clearly outlined in the title.  The title will be considered, by most searches, as the most important signifier of what the content is.  If your piece is on interculturalism, the syrian conflict or whatever this should be contained within the title.  Put yourself in the mind of the searcher.  How do you connect your audience with your media and what will they be looking for?  Always be: think of the who, what, where, when etc.

If the media is part of a series, put the series name in the title. If it is part of a larger event, add that also.  Connect your media to other media items by relating themes, events etc.  Ask yourself, what will people who are interested in your content be looking for? Theoretically your title can be as long as you like, at least as long as the word count that is imposed by the site you are using.  In the case of a title, attention should be paid to how the results are listed.  If we take the example of Youtube: you will notice that when results are listed, if the title is longer than 60 characters (give or take) with spaces, the title then becomes clipped.  If your title is longer than that limit, order the title with the most valuable information for the viewer first.

Writing the Description

When writing the description of media, reiterate the key points that are used in the title: the focus of your media.  If the characters that appear in the piece are renowned in their field, use their name, their title or their area of expertise as it relates to the piece.  Mention the key points that are raised within the piece.  It is not uncommon for almost entire transcriptions to appear within a description.

To increase the likeliness of being found, your description should hammer home whatever the focus of the media is.  In search engine optimization terms, the density of your keyword focus can be very important.  If we take for example the focus of your piece is interculturalism, you will want to mention this word in your title and in your description.  For the purpose of this example, the word ‘interculturalism’ is the focus of your piece and thusly the ‘Focus Keyword’.  Keyword density should be 1-3%.  Less than that and search will not consider your piece as being about interculturalism, any more than 3% and search engines can consider your piece as spam.  It will assume that you are attempting to cheat the system.  The focus of your description should also relate to the title so there is coherency between the two.

Always keep in mind the focus of your media and relate that to your description.  Repeat that word or phrase.  Always keep in mind the who, what, where, when etc. and think then of how people will find you.

The prototype has been developed as part of the cooperation project, Automatic Broadcast Content Interlinking Project (ABC-IP), between BBC Research & Development and MetaBroadcast. The idea behind the project is to roughly tag the content automatically and then let the audience do the fine tuning.

The content is processed by an audio-recognition software that makes the first attempt to identify the relevant topics (in some cases the links that have already been associated with the programmes). They use linked data to tag the content, whereby all content tags correspond with wikipedia articles, speakers, series-names etc..

In the archive the radio shows are presented with the automatically received tags from the audio files, the file description and some automatically associated images from Ookaboo. The algorithms obviously do not work perfectly so the tags are not always fitting the content. The show on the death of Pope John Paul II is, for instance, linked with the horror movie “Shock Waves” because in the description you can read: “Death of the Pope and the shock waves around the world.” These mismatches are to be corrected by the users.

After signing up  with name and e-mail you`re invited to work on the metadata of the content by voting up or down some automatically generated topic tags, name some speakers, work on the description, recommend another picture or add more tags.

When editing the description you can always click the “see history” button.  Here you can follow the changes and restore to the original version. If you name an unknown speaker or are editing an existing speaker you don´t see any histories, you can change the names easily. When changing a name of a speaker in one show you change the name in all shows, which have been connected to the same person (ID). Here I made a mistake: wanting to try out the function I just renamed an identity and after I  had completed, I started to search for the option to reverse the changes – there was not such a thing. (Sure, I could rewrite the original name, if I remembered… Sorry.) It is also impossible to reverse by recommending a “better image” to illustrate the show.

Adding a tag is not so easy. Starting to type in a word you get recommendations of phrases which are corresponding to Wikipedia-pages. You cannot just  type in anything, so if you don´t find the phrase you were looking for and you stick to the tag-idea you have, you have to create a Wikipedia page to be able to correspond with your tag.

Summing it up so far I guess we see an option which is worth thinking about for community media archiving purposes. For those who might be fit in technical aspects here is a short description. After seeing how users can help improve the archive, let´s have a look at how and what for they can use it for.

If you only want to explore the collection you just give in a search term, open an item and start to navigate between shows through thematic links, series,  speakers, etc.

The searching options are quite poor. You can not search by author, by running time, by location or by dates, you only search by searching terms. The result of your search is filtered by decades and availability (some shows are unavailable because of technical reasons or copyright considerations).  It is not easy to tell how the results are listed. It`s neither chronological, nor alphabetical, it is not happening upon popularity not even upon the content identification number. Not to mention that you don`t have an opportunity to list the matches upon some criteria (author, running time, publication date etc).

It is also not easy to understand how searching with multiple search-terms functions. If you search “Budapest” you receive 52 matches. If you search “Budapest” and “hotel” you receive 56 matches, some of them are tagged with “hotel”, some with “Budapest”. I didn`t find any double match (I admit I didn`t go through all of them though).  So maybe there are only 4 of all content pieces tagged with “hotel”? Not at all: for “hotel” you get 357 matches!

Search operators known from google like “” for the exact term or “OR” for a search for either word are not accepted here either.

If you are looking for something definite the chances of finding it, without reading the summaries of hundreds (or in some cases thousands) of items, are slim. This is not very motivating even if you know your contributions are supposed to improve the archive, not only the “correctness” of the metadata but through a feedback circle also in the searching and navigating options.  Besides these shortcomings on user-friendliness  I missed the comment, or other content evaluating options, which are also basic things on community managed sites for sorting items (by popularity for instance).

Summing it up: BBC World Service Prototype shows a nice example for crowd content managing possibilities, which is without a doubt highly relevant in community media context. However, when thinking about a similar system we have to be critical towards its lack of effective usability and develop a system matching our purposes. We need to provide real, effective access to our contents – and always be aware of what the users are interested in.

The necessity of sustainable archiving has been a subject of discussion for the civil media community for a few years now, and the project, called “CAPTCHA – Creative approaches to living cultural archives,” aims to provide new insights on how to securely make community media content accessible online. The project encompasses both research in best practices and the development of a model for archiving.

In the first CAPTCHA radio show about the first CAPTCHA project meeting, you can hear impressions from the exchanges that took place during the meetings and from excursions to Radio Tilos, the famous independent radio station in Budapest, and the Open Society Archives. During the 62 minutes of this program, questions are raised like: How are you archiving? Who is using the content? What do you think about the cooperation of the European community media at the moment? What will community media look like in 20 or 50 years?

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The following people appear: Virág Bottlik (Radio Corax, Halle), Gábor Csabai (Tilos Rádió, Budapest), Kate Coyer (Central European University, Budapest), Thomas Diesenreiter (Radio Fro, Linz), Helen Hahmann (Radio Corax, Halle), Gabriella Ivacs (Open Society Archive, Budapest), David Knox (Near Media Coop, Dublin), Paul Loughran (Near FM, Dublin), Franziska Stübgen (Radio Corax, Halle), Georg Wellbrock (Radio Corax, Halle)

The CBA pursues similar goals as its founders: open access, participation, common public interest, non-commerciality, transparency, self-organization, local and regional development and independence. Furthermore the project follows ethical principals in the pursuit of a self-determined, solidary and emancipatory society.

Today, fifteen years after its start, 25 radio stations with 800 user accounts upload parts of their programs onto the CBA, mostly audio content with text descriptions and semantic categorization. 43.000 audio files with a total length of 32.000 hours tell a diverse story of a societies successes and struggles often overlooked by mainstream media. With a steady and exponentially growing listeners and user base, the CBA is becoming a more and more important online platform for the active civil society in Austria. From the beginning, all the content on the CBA was available for free and it was one of the first platforms to adopt the Creative Commons license on a wide base. Therefore most of the content is available to remix and reuse, for example by other radio stations or for artistic usage. Another important role plays the idea, that information not only needs to be open, but needs an open environment as well. Due to that, the CBA uses only open source software, releases its own source code under a free license and is hosted by a free, independent and local community hoster.

Due to its pioneering role, the project team behind the CBA often had to ask questions and hunt for answers about the challenges of a changing media landscape due to the success of the internet. Over the years, many scientific and legal papers had to be written and many events and conferences were organized to discuss urgent political, legal and technical questions. Even nowadays, although the internet is not a new phenomenon but the now leading technical medium, many problems especially in the fields of copyright are still unsolved.

Halle (Saale), Germany

Radio FRO
community radio

Linz, Austria

Near Media Co-Op
community radio & TV

Dublin, Ireland

Communication Studies,
Central European University,
Budapest, Hungary

Project team

Radio CORAX

• Helen Hahmann – project coordination
• Virág Bottlik – PR coordination
• Franziska Stübgen – design
• Georg Wellbrock – programming documentation series
• Marian Mortell – webprogramming www.livingarchives.eu

Radio FRO

• Ingo Leindecker – coordination, event management, programming webtool
• Thomas Diesenreiter – coordination, event management
• Joachim Losehand – conference curator, event management
• Thomas Kreiseder – public relations
• Ralf Traunsteiner – programming web tool
• Pamela Neuwirth – editorial creation of archival collections and visualizations

Near Media Co-Op

• Paul Loughran – coordination, event management
• David Knox – event management, programming documentation series
• Peter Kelly – event management, programming documentation series
• Alan Weldon – programming documentation series

Center for Media and

Communication Studies

• Kate Coyer – leading researcher
• Joost van Beek – coordination, researcher

The goal of the project CAPTCHA is to empower community media, and the media producers working there, to increase the accessibility of their programs, by promoting the exchange of content and exploring sharing platforms, tackling the economic, technical and legal issues they face, and increasing awareness and practical know-how about the digital tools that are available now to facilitate collaboration and accessibility.

The project will review and analyse existing strategies community media are deploying to create and use archives, and identify examples of best practice. During workshops and conferences, experts and practitioners will discuss the economic, legal and technical aspects of archiving, including questions of copyright and fair use. In the course of the project’s events and collaborations, we will explore innovative and sustainable methods of facilitating the storing, editing and using of community-produced audio and video materials in collaborative and democratic ways, and develop a new, open source tool to facilitate archiving interfaces. The project partners will produce and share thematically related broadcasts, run a project site with findings and useful examples and materials in different formats, and publish project results in print as well as online. We welcome the input of media producers, researchers and consumers alike.

A significant part of the research, however, will focus on processes and practices as well as products. How have successful models of functioning archives been realized? The Center is conducting interviews with people who have been directly involved with planning or building online archives, and with community media volunteers who work with them on a day-to-day basis as producers, editors or administrators. How do they organize the archive? Who plays what role in the archiving work flow? What training, guidance, moderation or archiving policies are needed? This way, we want to identify and evaluate different models of planning, action and collaboration. Specific attention will be paid to the question of how to develop archiving platforms and formats in sustainable ways, avoiding the pitfalls of project- and funding-dependent temporary initiatives, and taking into account the volunteer-based nature of community media.

In order to evaluate the success of community media archiving models and the needs they need to meet, the Center will conduct survey research to recruit feedback from community media viewers and listeners as well as those actively involved themselves. What are their expectations from community media streams, downloads and archives? How do they use and interact with the sites, and how do they experience the ease of design and navigation of the site or sites they visit? What are their frustrations, and what would they still like to see?

All research will be practice-oriented, tailored to the needs of community media practitioners and activists, and will be driven by the information needs that emerge during the workshops that are at the heart of the project. The research should be able to identify the specific priorities in access, process and presentation that apply to community media. It aims to arrive at recommendations that can inform the work of community media organizations which are planning to launch an online archive, or expand or review the archives they already run, as well as individual community media producers.

The first meeting of the project partners within CAPTCHA addresses the essential questions to open multimedia archives. What are the specific circumstances of the “open knowledge” sector to archive productions? How can free media actors and artists publish their contents to gain public visibility? Which social practices of multimedia actors should be displayed and investigated by the CAPTCHA research? The partners develop the thread for a qualitative questionnaire. The questionnaire will be the base for the research conducted by Kate Coyer and Joost van Beek in 2014.