Real Memories. E-Book

Gisa Jähnichen

• Herausgeber: Books on Demand
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 199

Veröffentlichungsjahr: 2018

Beschreibung

The collection of articles written by the author in the past two decades shows a lot of issues, developments, and paradoxes that mount up to some real memories of virtual documents. Looking back, each of the articles was motivated by a conflict the author experienced. All articles were trying to answer questions. The succession from one perspective to another, from one community to another, also indicates that some problems were grown out by just ignoring them, directly solved by taking action, or by changing conditions through advanced technology. However, the most sensitive sections of these articles follow the gaze of an observer who is incurably interested in cultural and social aspects of the fact that the accumulation of knowledge through sound and audio-visual documents is crucial to the survival of human communities and their environment. This approach is itself brought up through the conflict between steadily progressing technologies and their application in still slowly learning societies. Gisa Jähnichen, ecomusicologist, currently working at Shanghai Conservatory of Music is an IASA ambassador engaged in audiovisual archiving around the globe, especially in Asia.

Leseprobe

CONTENTS

Real Memories…

Accessibility of Digitally Born Intellectual Property: Cases from Malaysia

Jähnichen, Gisa (2017). Accessibility of Digitally Born Intellectual Property: Cases from Malaysia.

International Journal of Business, Humanities and Technology

7 (3), 19-24.

Audiovisual Knowledge Management and the Fear to Lose Control

Jähnichen, Gisa (2015). Audiovisual Knowledge Management and the Fear to Lose Control.

IASA Journal, 45

, 54-58.

The Right to Know and the Right to Be Known

Jähnichen, Gisa (2015). The Right to Know and the Right to Be Known.

Music: Ethics and the Community

. Edited by Gisa Jähnichen, Made Mantle Hood and Chinthaka Prageeth Meddegoda.

UPM Book Series on Music Research, vol. 7

. Serdang: UPM Press, 209-226.

Turning Audiovisual Archives into Scientific Assets

Jähnichen, Gisa (2012). Turning Audiovisual Archives into Scientific Assets.

Journal of Knowledge Management Practice, No.12/3

, 139–146.

Audiovisual Documents as Ethnomusicological Sources in Southeast Asia

Jähnichen, Gisa (2011). Audiovisual Documents as Ethnomusicological Sources in Southeast Asia.

Proceedings of the 2nd ICTM Study Group PASEA Symposium, Singapore, 2010

, 132-136.

The “Digital Butterfly Net” of Ethnomusicologists and its Impact on Audiovisual Archiving

Jähnichen, Gisa (2009). The “Digital Butterfly Net” of Ethnomusicologists and its Impact on Audiovisual Archiving.

IASA Journal, 34

, 83-90.

Multiple Roles of a Small-Scale Archive in Indochina

Jähnichen, Gisa (2008). Multiple Roles of a Small-Scale Archive in Indochina.

IASA Journal, 31

, 62-69.

Accessing People through Accessibility of AV Documents

Jähnichen, Gisa (2006). Accessing People through Accessibility of AV Documents.

IASA Journal, 28

, 42-50.

Teaching future specialists on Popular Music & Media in AV-Archiving: Report on an experiment at the University of Paderborn

Jähnichen, Gisa (2005). Teaching future specialists on Popular Music & Media in AV-Archiving: Report on an experiment at the University of Paderborn.

IASA Journal, 27

, 66-72.

The Archives of Traditional Music in Laos

Jähnichen (2002). The Archives of Traditional Music in Laos.

100th Anniversary of the Berlin Phonogramm-Archiv

. Ed. by Gabriele Berlin und Artur Simon. Berlin: Ethnologisches Museum, SMPK, 330-340.

Collecting principles and their obstacles – or: How to collect nothing

Jähnichen, Gisa (2001). Collecting principles and their obstacles – or: How to collect nothing.

IASA Journal, 18

, 15-22.

REAL MEMORIES…

The collection of articles written by the author in the past two decades shows a lot of issues, developments, and paradoxes that mount up to some “real memories” of virtual documents. Looking back, each of the articles was motivated by a conflict and resulting questions. All articles were trying to answer these core questions or, at least, bring them to public attention. The succession from one perspective to another, from one community to another, also indicates that some problems were grown out by just ignoring them, directly solved by taking action, or by changing conditions through advanced technology.

However, the most sensitive sections of these articles follow the joint approach through the gaze of an observer who is incurably interested in cultural and social aspects of the fact that the accumulation of knowledge through sound and audiovisual documents is crucial to the survival of human communities and their environment. This approach is itself brought up through the conflict between steadily progressing technologies and their application in still slowly learning societies. Finally, the entire sequence of articles leads to rather visionary suggestions that include future models of human life and its ultimate purpose.

The author is a musicologist who by accident started to work in an audiovisual archive while feeling destined for hard core field work in mainland Southeast Asia. Here, as an introduction, the short story is told of how it comes that an archiving musicologist feels audiovisually challenged in the 21st century.

In the early 1990s, shortly after the Berlin wall came down, technology jumped directly into everyone’s life and pushed academicians as well as teachers to their limits. The merry old type writer could not be rescued with its electric version though many were happily discarding new tools. For example, I did not dare to own a mobile phone until 2015. However, the early computer era was a field of daily adventures and a huge playground for ways of alternative thinking.

Games, word processing, search engines; all that became a big source of excitement and filled our East-European urban generation with enthusiasm and the feeling of being part of something completely new. The high speed development of video cameras, digital recording systems, and the advancements of mobile notebooks contributed to the never ending fascination. In those times, nothing scared the obsessed and romantic ethnomusicologists keen to use these new things in order to solve old problems.

Political changes were another fact which offered exciting possibilities. The final end of colonial power systems in Southern Africa led my colleague to undertake extensive field work in Namibia, where she got involved in a heavy car accident and passed away. I inherited her rich collection and did not know how to deal with the new possibilities. However, the first step of all, as I learned to think, was archiving the recordings in an appropriate way. As it is part of human history, I tried to let later users decide what to do out of it. I repatriated the collection via the German Ministry of Foreign Affairs and the National Archives of Namibia by transferring a digital copy of the many recordings on different carriers. Also, I got interested in the history of these recordings, the people involved and their lives, the ideas that were brought up by external researchers.

While archiving the sound and audiovisual Namibia collection, the most basic and still applicable principles of archiving emerged. Confronted with all practical and cultural problems in detail and on a daily basis, many pieces fall into their places and de-romanticised the then grown up ethnomusicology which kind of dissolved into cultural anthropology, or just cultural musicology, or later in ecomusicology. This time of intense learning and observing brought me unavoidably into contact with professional organisations and colleagues engaged in this field. I am eternally thankful to everyone who put me on track.

Shortly after that, another large recording and archiving project started in Ho Chi Minh City. This project was again funded by the German Ministry of Foreign Affairs and the local association of composers and musicians. Within two years, the entire repertoire of the most prestigious traditional music genre of the Vietnamese South was recorded in a number of instrumental and vocal versions cooperating with numerous local musicians and singers. This was a giant undertaking that was only possible through the strong will of the local organisers, the enthusiasm about music traditions and their beauty, and the sense of responsibility towards the future of the entire culture surrounding this undertaking.

Becoming courageous, the next giant work started in another large project at the National Library of Laos. Just imagine the task: A whole country sparsely inhabited by many different people, freshly recovering from a long war, poverty, and political isolation is in need of keeping traces of their own cultural history. Traditional music and dance was a core feature of it. The National Library was the place where people would have free access to it unlike to any of the few research institutions that started to compete in getting foreign project assistance. The entire task was overwhelmingly difficult and challenging since at that point of time it was already clear that the future will have to be equipped with much better facilities and tools that help collect traditional music and dance. The budget limitations and the complicated way of recruiting really good staff did the rest to the feeling of being just a small and helpless creature in the big world. This feeling did not leave me anymore, but I became less frightened and used to it.

The next station was the largest State University of the Malaysia with a very small Music Department suffering from inconsistent educational policies and academic malpractice. There, another small scale archive had to be established that should help field researchers, lecturers, and students. Not surprisingly, this undertaking was the technically and financially best equipped but socially and culturally the most difficult.

All places provided lessons and surprises, good and bad experiences, and necessary interactions with many people. The following 11 chapters tell their stories in a rather dry academic way going step by step farer back into the past. The first chapters, the last few in this compilation, were simple reports reflecting enthusiasm and a desperate enforcement of archiving principles. Later, issues became more complex and academic. The longer I am working in the field of audiovisual archiving the more I am sure of the necessity to convince as much colleagues as possible that they have an obligation in dealing with their audiovisual heritage, their collections, their unwritten material, their orally documented past. And yet, I also learned that not everything can be of the same importance. However, I am sure that future innovations will do much better in making decisions about past achievements. My most urgent goal is in stopping ignorance towards any type of knowledge. That is what drives me and that is what let me feel again like a small and helpless creature in the big world. But one who can change a lot by doing small and seemingly helpful things being an archiving musicologist.

This compilation is thought to provide insights into the learning process and to document some of the many difficulties audiovisual archivists and musicologists face while creating, discovering, and recovering this special kind of human and even non-human knowledge. Audiovisually or just audible memories might be not more real than written chronicles, scientific papers, or academic theses prone to individual re-interpretation. But they are, too, not less real.

Some of the most striking discoveries while being an archiving musicologist is the insight that memorising time must always come with memorising places and agents. In the analogue era, time and place of accessing knowledge in any of the few real audiovisual archives was crucial to development. Now, the exact time, place, and agent of the recorded analogue event is crucial to validate this knowledge and to make any material becoming part of useful data. Another insight was the confirmation that nothing ever is unchanged, that processes are running with different speeds and relative to each other. And the third insight is the simple fact that any archiving musicologist including all their inner struggles is part of the subject, the knowledge source, and the whole experience of life. Real memories always involve present time, place, and every being.

Berlin, January 2018

ACCESSIBILITY OF DIGITALLY BORN INTELLECTUALPROPERTY: CASES FROM MALAYSIA1

INTRODUCTION

As previous experiences show, those who want to consume digital-born Intellectual Property items within Malaysia and abroad do not necessarily know about the why and how of establishing an Intellectual Property status for digital-born knowledge. Many complications arise during the process of establishing and protecting Intellectual Property within a complex cultural environment as that of Asia. One of the key problems is the general gap in understanding what it is that Intellectual Property embraces, and why it is important beyond its primary exploitation for financial gain. Using digitally born examples from Intellectual Property applications sent to Putra Science Park at one of the largest Malaysian Universities within the last three years, this paper illustrates typical complexities that arise in the process of providing access to Intellectual Property-protected items, especially those that attract international interest by companies and individuals who often exploit Intellectual Property from Asian universities.

Taking a central position in this paper is the role audiovisual archivists play in providing secondary access to and preservation of these digitally born Intellectual Property items, beyond their primary uses within the commercial sector. Some contemporary audiovisual content created for commercial and research purposes, especially those created during research with local communities, must endure beyond the Intellectual Property product-development processes of today's profit-minded universities. Audiovisual archivists must be front-and-center in this process, both in selecting and preserving contemporary research output at universities around the world, but also in providing education to communities and researchers around the Intellectual Property process.

1. PUTRA SCIENCE PARK AT UNIVERSITY PUTRA MALAYSIA

Putra Science Park at Universiti Putra Malaysia, which represents an Asian microcosm of knowledge marketing, is a rich testing ground for researching digital-born Intellectual Property in the context of a variety of information formats, including music and recordings, teaching materials, technology, and graphic design tools. There exists a proper list (figure 1) of types of works and categories which is one of the very few digital items accessible to the public:

Figure 1: Table of copyright classification at Putra Science Park, 2016.

The exact wording and the carefulness in filling in this table of possible types of works that can be put under copyright and become an Intellectual Property of the university shows partly in which mood rights are treated in general. We find an administrative copy-paste culture that questions the understanding of the subject matter, for example under the category “musical works”. How did this grammatically interesting addition “and includes works composed for musical accompaniment” into this one-point-category? It had to actually being added for the shape of copyright constructions resulting from suggested items that are either inaccessible or not exploitable. Especially in the field of music education and performing arts, the number of such items increases in an alarming fashion. But there are some really positive examples, too: Putra Science Park won a gold award (figure 2) on “Copyright” for a digital born board game for children aged 6 to 12 which was commented on the internal website as follows:

KUALA LUMPUR, Sept 10: Researchers of Universiti Putra Malaysia (Universiti Putra Malaysia) win gold award under the Copyright category during the National Intellectual Property award presentation held in conjunction with 2015 National Intellectual Property Day.

The group of researchers received a trophy, RM10,000 cash [peanuts for the PM], medal and certificate from Prime Minister, Dato' Seri Najib Razak at the Putra World Trade Centre […] Dr Mohamad Fazli expressed his gratitude for winning the prestigious award...He said ‘Professor Bijak Wang’ was a board game made locally on financial research which could be beneficial in this era where reports of people going bankrupt were rampant. “This serves as a pro-active step to teach children on financial management, how to go about saving their money, indirectly instilling the culture and habit of saving from a tender age,” he said. Prof. Dato’ Dr. Mohd Azmi, meanwhile, said…“So far, several established organizations have indicated their interests with the kit and we are in the process of negotiating with them,” he said. Universiti Putra Malaysia.

Not surprisingly, this innovation was made during Malaysia’s biggest financial scandal in history, the 1MDB issue, in which the Prime Minister seems to be heavily involved which is continuously generating a huge amount of digitally expressed jokes that are not yet copyrighted.‘1MDB issue’ stands for 1Malaysia Development Berhad Scandal. The Malaysian Prime Minister was accused of taking over RM2.67 billion from a government-run strategic development company in his personal bank accounts. While the game might be indeed a useful idea that was copyrighted for this university, there are quite a number of items that have to be questioned as they infringe other rights due to lack of knowledge in the field and missing networking among a scientific community.

Figure 2: Award presentation held in conjunction with 2015 National Intellectual Property Day in Kuala Lumpur, Malaysia, Dr. Mohamad Fazli receiving his award from Prime Minister Najib Razak at the Putra World Trade Centre. Photo: courtesy of Saleha Haron.

2. FOOLS

Among them are the following digitally born Intellectual Property items that do not look digital at the first view. For example the performance of an electric violin in upside down position hanging at a rope and flying through the performance hall (figure 3). The video taken through a mobile phone device was sufficient in order to prove the uniqueness of the event and the individual effort.

Figure 3: Photo of the event, performance of an electric violin in upside down position, taken by Yktang Photography for public promotion and used as cover photo in social media.

However, the performance style was not new (Pink did it before and it became a fashion over the years); the music was simply played back, and the mobile phone video was anything but an art work so far. A former colleague who is in the field of popular music and digital culture and was not even briefly consulted comments: ‘According to my observation in Chinese Pop for years, Taiwan's Jolin Tsai is the first to integrate gymnastics into live dance & music performance. She earned massive attention for her "perseverance" and effort to take real training in yoga and gymnastics as a pop artiste. (Chow Ow Wei, 2016). This Intellectual Property item caused confusion as other staff were told to start playing their instruments in silly positions for the sake of the Key Performance Indicator of the Department, the Faculty, and subsequently the university ranking. A number of other interesting items could be taken as Intellectual Property coming from the same source. There was even an entire music CD recorded in a private home studio of the staff consisting of merely re-arrangements of oldies such as Simple Gifts, Miserlou, Greensleeves, Danny Boy and some others that are now kept as “compositions”. This music composition Intellectual Property item was celebrated over months with a large banner at the university entrance. It came even under a specific knowledge class. After intervention by other universities, two things happened: A further specification was introduced which is “Type”, that was then filled in as “Arrangement”; and access to these entries was restricted to the own university staff only.

Despite this memorable item were many other Intellectual Property recordings of short snippets that had to be timely stretched though the performer played just a few minutes in a concert one or two short music pieces composed and arranged by others in order to allow for an administratively measurable importance (Minimum of 20 Minutes). The whole list applicable for Intellectual Property items is provided on a burnt CD and a write up that had to be defended in front of a board of experts mostly consisting of the director of Putra Science Park or her vice director, one staff working in humanities and one lawyer. There is no expertise on recordings, on archiving, on music, on performance, or anything near to it. No reviews are undertaken, no input from external experts asked for. The proving material, at the end, is then stored in a normal office building on a normal shelf among many other folders and papers, mostly under temporary air conditioning during office hours. This example encourages many other colleagues to do the same and to put their karaoke sessions which means teaching lessons with power point text running over the screen as Intellectual Property items in order to satisfy quantitative standards. And this is multiplied with all universities in Malaysia and possibly other places where quantitative competitiveness is a core business. The items declared Intellectual Property, as it is understood, are not for re-use or application. They are just numbers. And they can actually only be accessed by the creators or owners, which is Universiti Putra Malaysia staff or staff of the respective research unit. But there is another contradictory issue which is the true creation of knowledge that takes part at any university. Among those items that really could have an impact on knowledge increase are recordings of teaching processes in performance studies and consecutive unique lesson plans as well as true compositions for locally available performers. These recordings cannot and should never be stored under the conditions given by Putra Science Park or any similar institution anywhere else in the region. The good news: they are rarely stored under such conditions. The bad news: they are often not stored at all.

3. COUNTER MOVEMENT

While building up the music department’s own Audiovisual Research Collection for Performing Arts as a small scale university archive, it was impossible to co-operate with Putra Science Park in terms of archiving issues. The only approval was given for the database, a digital document developed for onsite use in the most effective and simple way. This database is continuously updated. However, the recordings need to have a back-up on the university server that is not included in this Intellectual Property process though it was included in the write-up. This safety copy storage was subject to completely other negotiations among IT staff that were well aware of the risks that digital items include. But these negotiations had nothing to do with Intellectual Property rights issues. The university is actually not interested in doing anything out of them as there is little understanding of items that cannot be listed as single ‘events’ commodities on a carrier. On the other side, the digital policy of the university prescribes full entries of teaching and lesson plans with uploading of all teaching material, digital sound and video recordings included. These items are supposedly covered by the employment contract and owned by the university without a clear Intellectual Property declaration and they consist of not a few illegally downloaded material, therefore access to them is strictly limited to Universiti Putra Malaysia staff.

“With regards to intellectual property rights in the universities, workers are employees of the university and the law provides that if an employee has created an intellectual property in the course of employment, the university as an employer owns the intellectual property, unless there is a contract at the beginning of the period of employment stating otherwise. The legal position is clear to every type of intellectual property.” (Ramli et al, 2016, 1226). The crucial point is whether an artwork or anything that could be an Intellectual Property item was created “in course of employment”. Does free time and holidays count into the course of employment? Is it legal to use university properties while creating artworks but then claiming Intellectual Property privately, for example sitting in the office chewing on an office pencil and dropping some dots on a music sheet? Why staff has to declare Intellectual Property officially if otherwise everything is owned by the university? Where is the motivation for the staff to further create Intellectual Property items? To clarify: Intellectual Property declaration has – as the previous discussion shows – little or nothing to do with knowledge building or protection. In performing arts and performing arts education, it is additionally accompanied by lack of understanding its core business such as the identification of unique performance values, whether musically or performance-wise. In humanities with very few exceptions it is sadly enough not even a primarily economic value but a symbolic value that increases countable items for a better result in university rankings.

4.1. DEMOTIVATION

Instead of doing research that needs a lot of preparation, administration, discipline, and networking, especially performing arts staff opts often for a shortcut in putting some extra-university performances recorded with whatever was at hand and declare it as Intellectual Property. According to the author’s observation, out of 14 IP items counted in a time period over three years 2012-2014, 12 were just recorded extra-university activities in events with many performers that were not reviewed regarding quality, copyright issues, and/or length of performance. The main problem of all these interwoven causalities is the problem of accessibility. Intellectual Property items stored at a central university unit that consist mainly sound and audiovisual recordings are actually in-accessible to learners and teachers unless an economic interest is uttered and these items are approached as a commercial user. Interestingly, even though Intellectual Property items created automatically through the contract policy of the universities cannot be re-used internally