The Association for Recorded Sound Collections |
The Association for Recorded Sound Collections invites you to join us for webinars on topics relating to the collection and management of recorded sound. Questions about webinars may be directed to Yuri Shimoda or Dan Hockstein.
The ARSC Webinar program is funded by a grant from the National Recording Preservation Board, administered by the Council on Library and Information Resources.
Led by Ayanna Legros and Laura Wagner
June 28, 2023 2:30 PM EST/11:30 AM PST
To view flyer, click here: Flyer
To view webinar recording, click here: Webinar Recording
This presentation explores the resonances and permeabilities between the archives of two Haitian broadcast institutions. The first is Radio Haïti-Inter, the country's most prominent independent radio station, based in Port-au-Prince, whose archives are now held at Duke University's Rubenstein Rare Book & Manuscript Library. The second is "Lè Ayisyèn," a New York-based leftist Haitian diaspora radio program broadcast out of Columbia University between 1969 and 2002, the archive of which remains mostly unprocessed. In addition to its own original programs, "Lè Ayisyèn" held onto tapes of "Radyo Ayiti nan Nouyòk," a radio program that Radio Haiti's Jean Dominique and Anthony Pascal (Konpè Filo) anchored during their exile in the early 1980s. Working together, and putting these two collections in dialogue with one another, helps fill in the gaps in Radio Haiti's archival record, provides a glimpse of the political, cultural, and social shifts of New York's Haitian community, and shows the transnational nature of political resistance and broadcast. Moreover, we go beyond the particularities of Haitian radio to argue for the importance of rasanblaj - collaboration, compiling, reassembling - in archival work and in the preservation of memory more generally.
Funded by a grant from the National Recording Preservation Board, administered by the Council on Library and Information Resources.
Laura Wagner was the project archivist for the Radio Haiti Archive at Duke University's Rubenstein Rare Book & Manuscript Library from 2015-2019. She is currently writing a book that brings together the story of the 2010 Haiti earthquake and its aftermath with the history and legacy of Radio Haïti-Inter.
Ayanna Legros is a historian, researcher, and collector of Haitian radio archival materials including cassettes, ephemera, protest pins, and oral histories. Since 2016, she has worked to protect and write about the archives of Lè Ayisyen (the Haitian Hour), a leftist progressive radio program which ran from 1969-2002 on the airwaves of Columbia University's noncommercial student run program, WKCR 89.9FM. She is a graduate of Northwestern University (B.A. International Studies and African American Studies), New York University (M.A., Africana Studies), and Duke University (M.A., History).
Led by Dave Rice, Marcos Sueiro Bal, and Benjamin Houtman
April 19, 2023 2 PM EST/11 AM PST
To view flyer, click here: Flyer
To view webinar recording, click here: Webinar Recording
This webinar will review approaches for performing quality control inspections on digital audio recordings. We will cover strategies to scale quality control techniques from small file sets to large scale projects, assess several open source and commercial products, present some new quality control utilities, and provide several real-world use cases of quality control practices within our archives.
Astat audit developed with support from the Leon Levy Foundation.
Funded by a grant from the National Recording Preservation Board, administered by the Council on Library and Information Resources.
Dave Rice is an audiovisual archivist and technologist. His work focuses on independent media, open source technology in preservation applications, and quality control analytics. He worked as an archivist or archival consultant at media organizations like CUNY, Democracy Now, the United Nations, WITNESS, Downtown Community Television, and Bay Area Video Coalition. He is a graduate of the L. Jeffrey Selznick School of Film Preservation and based in New York.
Marcos Sueiro Bal is the Archive Manager at New York Public Radio. He is a member of the technical committees of ARSC and the International Association of Sound and Audiovisual Archives (IASA), and was part of the Collection Management Task Force that drafted the Library of Congress National Recording Preservation Plan in 2012. In 2011 he co-translated the definitive text on audio preservation, IASA's Guidelines for the Production and Preservation of Digital Audio Objects. Marcos has presented on audio QC at IASA and ARSC conferences.
Benjamin Houtman is a New York City-based archivist currently guiding digitization and conservation projects for New York Public Radio and for the Institute of Jazz Studies at Rutgers University. A graduate of the University of Texas at Austin School of Information, Ben has also worked as an audiovisual archivist at the Trisha Brown Dance Company and at the Merce Cunningham Trust.
It began in 1890 with Jesse Walter Fewkes, a zoologist by training, trekking to Maine with a cylinder recorder. His mission? To "capture" sounds from the Passamaquoddy Tribe.
The 31 wax cylinders he recorded as part of this expedition are regarded as the first ethnographic field recordings. In the 130 plus years since then, anthropologists, ethnomusicologists, and linguists have generated troves of sound recordings documenting the music, languages, and culture of people from around the globe. Motivations have been many. Some recordists were spurred on by a desire to "salvage" or save sounds being erased by colonial encroachment and resulting genocides. Others were concerned with the "cultural gray-out" brought about by the popular commercialization and feared homogenization of music.
Whatever the motivation, many of these collections were deposited in European and North American sound archives. Framed another way, these sounds were extracted from communities of origin and housed in locations that were, practically speaking, inaccessible to many, including those heard on the recordings.
With this discussion, archivists, curators, and educators from the Library of Congress, Indiana University's Archives of Traditional Music, and the University of Washington in Seattle, will discuss the challenges and opportunities of working with such collections. From murky ethical and rights related issues to the way in which such recordings can stoke Indigenous language revitalization projects, please join us for a discussion about both the perils and promise of ethnographic sound archives today.
Alan Burdette has been the Director of the Indiana University Libraries Archives of Traditional Music since 2007 where he is responsible for day-to-day operations and long-term planning. He was part of the planning team for IU's large scale media preservation effort (MDPI). He formerly served as the Executive Director of the Society for Ethnomusicology and as Director of the EVIA Digital Archive Project, and Associate Director of IU's Institute for Digital Arts and Humanities. He holds a Ph.D. in Folklore and Ethnomusicology from Indiana University, where he currently also serves as an adjunct professor.
Guha Shankar is Folklife Specialist at the American Folklife Center, Library of Congress, Washington, D.C. At the Center he develops a range of multi-media productions, documentation initiatives and public outreach programs. He serves as co-director of the Civil Rights History Project, an initiative to document, preserve and provide access to born-digital oral histories with activists in the Black Freedom Struggle. He is the coordinator of Ancestral Voices, a collections management and co-curation project undertaken in collaboration with indigenous communities. Shankar conducts workshops in ethnographic research methods and skills-based training in field documentation in a range of communities and institutions. His research interests and publications include ethnographic media production, intangible cultural heritage and intellectual property issues in indigenous communities, and cultural politics and performance in the Caribbean. Shankar earned his Ph.D. in 2003 from the Department of Anthropology, University of Texas at Austin, with a concentration in Folklore and Public Culture.
Allison McClanahan is the Collections and Cataloging Librarian at the Archives of Traditional Music, where she is responsible for managing public and technical services. Her duties include reference, library maintenance, cataloging, collection management, and outreach. She also conducts tours of the ATM and instruction sessions for courses relevant to the scope of ATM collections. Allison's research interests include representation and description of indigenous and marginalized groups in cataloging and description systems, instruction using ethnographic primary sources, audiovisual and ethnographic field collection cataloging, and the intersections of public and technical services in libraries and archives. She received her Master of Library Science with specializations in music librarianship and archives & records management from Indiana University Bloomington in 2016.
Tami Hohn (Puyallup) is an Assistant Teaching Professor at the University of Washington (UW) Department of American Indian Studies. In this role she teaches the Southern Lushootseed language and acts as the first Native Knowledge In Residence Coordinator for UW's Center for American Indian and Indigenous Studies (CAIIS). Hohn joined the Department of American Indian Studies informally in Autumn 2017 by teaching free, drop-in language learning and conversation sessions with her colleague Nancy Jo Bob. By the following Autumn, 2018, Hohn was teaching a year-long for-credit course in Salish Language. More information about Tami Hohn can be found here.
John Vallier is Head of the Ethnomusicology Archives at the University of Washington (UW) in Seattle. In this role he attempts to steward a collection of over 50,000 recordings and films documenting global, regional, and local music traditions. At UW he also teaches on such topics as remix studies, Seattle music, and the colonial legacy of ethnomusicology archives. For the next three years he is managing UW's participation in a collaborative curation project led by Professor Kimberly Christen (Washington State University) and in partnership with nine Native Tribes. Before coming to UW, John was the archivist at the UCLA Ethnomusicology Archive where he led repatriation efforts and helped develop documentation partnerships with Los Angeles-based non-profits.
Turning cool information and ideas into a cool conference presentation shouldn't be a daunting task, but if you haven't done it before (or often), you might be unsure where to start or how to tackle each step along the way: drafting a proposal, pulling together a PowerPoint, and so forth.
This webinar is especially aimed at demystifying the process for anyone who's thinking of proposing an ARSC conference presentation for the first time. However, the material to be covered should also be relevant to other venues and to more seasoned presenters who might like to reflect on how it all works (and perhaps share some tips and ideas of their own).
First, we'll consider the process of settling on a topic and drafting a proposal complete with title, abstract, and presenter bio. Next, we'll go into what's involved in crafting a full-fledged presentation: organizing it effectively, making it fit your audience and the available time slot, preparing a serviceable outline or script, and making smooth and engaging use of slides, audio, and video. Finally, we'll take a look at some actual mechanics of presenting, including how, when, and why to rehearse and test your presentation beforehand, how to safeguard against common technical problems (and roll with it if they occur anyway), and how to navigate the question-and-answer session afterwards.
Patrick Feaster is a Grammy-nominated author and researcher who specializes in the history, culture, and preservation of sound media and has served in the past as ARSC Program Chair (2005-07) and President (2014-16). He doesn't claim to have all the answers when it comes to giving the perfect presentation, but he has presented at ARSC conferences sixteen different times and lived to tell about it.
The Radio Preservation Task Force (RPTF) of the Library of Congress is a consortium of scholars, archivists, and educators created through the Library's National Recording Preservation Plan. Its mission is to encourage and expand academic study on the cultural history of radio through facilitated preservation partnerships, engaged collections advocacy, conferences, public inventories, pedagogical guides to boost collection discoverability, as well as identify and save endangered collections.
Sound Submissions is a new digital initiative which sits at the heart of the RPTF's expansive mission. It was developed as a result of focused research which revealed a problem, that there is an impediment to public knowledge and use of diverse endangered radio collections. Many such collections are held by private collectors, who are traditionally reticent to donate physical recordings or share digital copies due to lack of a neutral repository, as well as a fear of devaluing materials they have painstakingly acquired. Sound Submissions was conceived to improve preservation and discoverability of materials held by collectors by providing solutions to these challenges, while also expanding and diversifying the range of cultural and political representation in national collections. Collection holders will retain original physical media and digital recordings, while digital copies will be ingested and maintained by the Library’s National Audio-Visual Conservation Center (NAVCC). Library users can listen to recordings onsite at the NAVCC’s Recorded Sound Research Center in Washington, DC. After the project's team identifies and acquires these collections, the project will pivot into a more focused digital humanities mode of practice to encourage discovery and use of the collections.
Sound Submissions has already identified and is actively acquiring its first three pilot collections in 2022. In this webinar, Sound Submissions Research Director Stephanie Sapienza will talk through the various challenges of approaching such an ambitious 'post-custodial' archival project, highlight the initial pilot collections, and offer a road map towards a not too distant future when everyone can access these crucial pieces of our national audio heritage.
Stephanie Sapienza is the Digital Humanities Archivist at the Maryland Institute for Technology in the Humanities (MITH) at the University of Maryland. Her research revolves around using digital humanities methods alongside archival standards to reframe and contextualize historic media collections through the lens of their original production, reception, and networked distribution. She has been the Principal Investigator on two subsequent NEH-sponsored grant projects about the history of educational and public radio, Unlocking the Airwaves and Broadcasting Audiovisual Data. The former project is a virtual reunification project reuniting two geographically 'split' collections; the latter connects four separate radio collections using linked data infrastructures and workflows. She is also an affiliate faculty member of UMD's Cinema and Media Studies (CMS) department, where she teaches a course on digital storytelling using archives. Formerly, she was the Project Manager for the American Archive of Public Broadcasting at the Corporation for Public Broadcasting, where she managed strategic operational planning for metadata and digitization initiatives.
Contemporary artists can activate archival collections through research, study, and re-interpretation. In this webinar, guests will be treated to a performance by Myriam Gendron, whose musical works draw on this concept through the interpretation of poetry and traditional songs. Gendron will perform selections from her 2021 release Ma délire -- Songs of love, lost & found (Feeding Tube/Les Albums Claus), engage in conversation with ARSC E&T Co-Chairs, and take attendee questions.
About Myriam Gendron: Born in Ottawa in 1988 and raised between the province of Quebec, Washington D.C. and Paris, Myriam Gendron settled in Montreal at the age of sixteen, where she currently makes her living as a book dealer. In 2014, she released Not So Deep As A Well, a nine-track album made from poems by Dorothy Parker that she set to music. The critically-acclaimed record, released by Feeding Tube Records and Mama Bird Recording Co., was picked for many best-of-the-year lists. Richard Meltzer wrote that Not So Deep As A Well, "is the hottest--and FINEST!--Impossible Love collection in, I dunno, 30 years." Seven years later, in 2021, Myriam Gendron released Ma délire -- Songs of love, lost & found, a very modern exploration of North American folk tales and traditional melodies. The bilingual double album of 75 minutes, released on October 1st 2021 by Feeding Tube Records and Les Albums Claus, is very well received by local and international musical critique.
We are in the midst of what many are calling a "Golden Age of Podcasts," yet despite all the excitement over this new format, the sounds of podcasting's nascent history are vulnerable and remain mystifyingly difficult to research and preserve. The PodcastRE.org website and database was built as a searchable, re-searchable index to provide scholars and podcast enthusiasts with tools to explore both contemporary and historical podcasts. In this roundtable discussion, PodcastRE project leaders Jeremy Morris and Eric Hoyt talk about their efforts and challenges building this open-access resource as well as their new edited collection, Saving New Sounds: Podcast Preservation and Historiography. They are joined by three contributors to the collection — Jennifer Wang, Susan Noh and Sam Hansen — who will discuss their work with the PodcastRE site, and their research on podcasting's alternative histories, the secrets in podcasting's metadata, and the technologies that both ensure and limit podcasting's future.
In this roundtable discussion, PodcastRE project leaders Jeremy Morris and Eric Hoyt talk about their efforts and challenges building this open-access resource as well as their new edited collection, Saving New Sounds: Podcast Preservation and Historiography. They are joined by three contributors to the collection — Jennifer Wang, Susan Noh and Sam Hansen — who will discuss their work with the PodcastRE site, and their research on podcasting's alternative histories, the secrets in podcasting's metadata, and the technologies that both ensure and limit podcasting's future.
Jeremy Morris is an Associate Professor in the Department of Communication Arts at the University of Wisconsin-Madison. He is the author of Selling Digital Music, Formatting Culture and a co-editor of Appified: Culture in the Age of Apps (with Sarah Murray) and Saving New Sounds: Podcast Preservation and Historiography (with Eric Hoyt). He is the founder of PodcastRE.org, a large database/archive of researchable podcasts and he has published widely on new media, software, music technologies and podcasting.
Eric Hoyt is the Kahl Family Professor of Media Production in the Department of Communication Arts at the University of Wisconsin-Madison. He is the author of Hollywood Vault: Film Libraries before Home Video and co-editor of Hollywood and the Law and The Arclight Guidebook to Media History and the Digital Humanities. He is also the Director of the Wisconsin Center for Film and Theater Research and the Media History Digital Library.
Sam Hansen is a liaison librarian for the Mathematics and Statistics departments at the University of Michigan Library. Their research interests include bibliometrics, research impact, database design, topic analysis, digital archiving, podcasts, network theory, open access, copyleft, science communication, and equity in STEM.
Susan Noh is a Ph.D student in Media and Cultural Studies in the Department of Communication Arts at the University of Wisconsin-Madison. Her research interests include the transnational media flows of pop culture content, the effects of cross-cultural transmediality on global franchises, and the effects of the digital turn in media research.
Jennifer Wang is a broadcast historian, researcher and teacher based in Madison, Wisconsin where she finished her Ph.D. Her research largely focuses on the relationship between gender and broadcast history, specifically on radio, daytime programming, podcasting, and women's work.
Featuring panelists Dorothy Berry, John Levin, and Vincent Pelote
Moderated by Allison McClanahan and John Bondurant
Presented by the ARSC Education and Training Committee & ARSC Diversity, Equity and Inclusion Committee
January 20, 2022, 3:00 PM EST/12:00 PM PST
To view flyer, click here: Flyer
To view webinar recording, click here: Webinar Recording
The Association of Recorded Sound Collections is an organization of people who share a common interest in collecting and preserving sound recordings, whether at sound libraries and archives or cultural heritage institutions, as a private interest, or both. This panel will focus on exploring the idea of collecting and the "collector" identity: practices, motivations, and community.
Dorothy Berry is an archivist whose work focuses on the description and discoverability of African American cultural heritage materials. With a diverse academic background in new music performance, historical ethnomusicology, and archival studies, Berry has been able to lend a unique curatorial eye at enhancing discoverability of underrepresented histories at institutional repositories. She has worked at the Archives of African American Music and Culture, the Black Film Center/Archive, at University of Minnesota on Umbra Search African American History, and currently at Houghton Library, Harvard University where she serves as the inaugural Digital Collections Program Manager.
John Levin has broadly collected records and phonographs from the acoustic era for over 45 years. More recently, he has focused on cylinder recordings on brown wax, with a current collection comprising more than 3,000 pre-1903 records. John is working closely with the Performing Arts Collection at UCSB to ensure that his researched collection – and important others like it – are slated for long-term preservation and public access.
Vincent Pelote is Senior Archivist and Digital Preservation Strategist at the Institute of Jazz Studies at Rutgers University-Newark. He has compiled discographies on Billie Holiday, Lionel Hampton, and on the Commodore Records label. Mr. Pelote is one of the contributors to the Oxford Companion to Jazz. He has written a number of album program notes on Lee Konitz, Johnny Smith, Mary Lou Williams, Benny Carter, Curtis Fuller, and others. He has written book and sound recording reviews for the ARSC Journal and Notes: The Quarterly Journal of the Music Library Association. He was one of the hosts of the radio program, "Jazz From the Archives," which aired on WBGO-FM, National Public Radio (1979-2014).
The Digital Audio Tape (DAT) format presents many preservation concerns, stemming from its physically fragile nature, complex playback mechanisms, and digital capture strategies. This webinar panel will survey cases, methods, and discussions among audio engineers and technicians who have strategies for tackling problems with DAT.
Since its start nearly 50 years ago, Hip Hop has transformed from a local community practice in the Bronx to a worldwide phenomenon. Technologies like the compact cassette offered an inexpensive means of recording and sharing music with community members from local neighborhoods to other coasts and countries. There has been an unprecedented effort to recover artifacts and document the genre in community archives, cultural heritage institutions, libraries, and universities. From mixtapes to LPs to photographs and ephemera, many of these community-based artifacts remain in the hands of private collectors, practitioners, and fans, and require a participatory approach to preserve.
This roundtable discussion explores the cultural, artistic, and historical significance of Hip Hop and the community-based approaches to archiving it with Hip Hop memory workers Claude "Paradise" Gray, Evan Auerbach, and Regan "Sommer" McCoy. Music provided by Manny Faces.
Evan Auerbach's connection to hip-hop spans over three decades. From self-proclaimed rap nerd turned mixtape hustler to record label hired gun and most recently marketing executive, Evan has battled in all areas of the business of music. In 2009 Evan created UpNorthTrips, dedicated to the study and preservation of hip-hop history. The work has solidified the brand as one of the most renowned Hip Hop Historical portals on the internet. His career and connections in the industry, experience as a writer, and personal collections have made him an acclaimed source for providing rare hip-hop memorabilia to the masses. Evan is the author of No Sleep, a visual history of New York City nightlife between 1988-1999 as told through flyer art as well as the forthcoming book, Do Remember: The Golden Era of Hip-Hop Mixtapes In NYC.
Paradise Gray is the Chief Curator and an Advisory Board Member of the Universal Hip Hop Museum. His current exhibit the (R)evolution of Hip Hop features artifacts from the years 1980-1985. He is a Hip Hop historian and legend from the South Bronx who was mentored by pioneering DJs, Disco King Mario and Pete DJ Jones. His Hip Hop memorabilia archives The Paradise Collection include Hip Hop artifacts preserved since 1978. He was an entertainment manager, booking agent, and host of the world-famous Hip Hop club, "The Latin Quarter," which was the incubator of "The Golden Era of Hip-Hop" from 1986-1988. Paradise is an archivist, author, photographer, and produced nine (9) albums including two (2) classic albums with his legendary messenger group "X-Clan." He consulted RUSH Productions/Def Jam Recordings during its formative years and helped develop MP3.com, the first online streaming music startup.
Regan Sommer McCoy's professional career started in the music industry almost 20 years ago. She is the founder of The Mixtape Museum (MXM) which celebrates the cultural importance of the mixtape. MXM encourages the research, archiving, preservation, and data analysis of mixtapes and seeks to achieve systematic preservation in the DJ and Hip Hop communities. In 2016, Sommer launched Hip Hop Hacks, a hackathon experience that explores the intersections of Hip Hop culture and technology. She is a Columbia University Community Scholar, a grantee of the Association for Recorded Sound Collection, and the Institute of Museum and Library Services. She serves as a committee member with the Universal Hip-Hop Museum and MoPOP. She is the Associate Producer for Hip Hop Can Save America! Podcast and manages databases and reporting at the Brooklyn Academy in Creative Social impact.
Manny Faces is an award-winning journalist and founding director of The Center for Hip-Hop Advocacy. As a podcast professional, Manny produces acclaimed shows including social justice-meets-Hip-Hop program, News Beat, and Hip-Hop Can Save America! News Beat was awarded "Best Podcast" at the New York Press Club Journalism Awards in 2018 and 2021, and at the Society of Professional Journalists/PCLI Awards in 2020, while Hip-Hop Can Save America! is listed as "recommended material" at Harvard's Graduate School of Education. Manny's work largely focuses on championing the ability of Hip-Hop music and culture to uplift humanity -- particularly in areas such as education, science and technology, health and wellness, social justice, journalism, entrepreneurialism, the fine arts, and more. An accomplished public speaker, Manny has presented at universities, conferences and festivals throughout the world.
Archives and collectors often have digital content requiring management for preservation and access. This webinar provides high-level guidance on how to organize, store, and manage digital assets, whether as part of a project to migrate to a digital asset management system or simply to store and manage the files manually.
Linda Tadic is Founder/CEO of Digital Bedrock, a managed digital preservation service that helps libraries, archives, museums, producers, studios, artists, and individuals preserve their digital content. She is also an adjunct professor in UCLA's Moving Image Archive Studies program, teaching a course on Digital Asset Management. She was previously an adjunct professor in NYU's Moving Image Archiving and Preservation program. Her over 35 years' experience includes positions at ARTstor, HBO, the Media Archives and Peabody Awards Collection at the University of Georgia, Pacific Film Archive, and the UCLA Film and Television Archive. Linda consults and lectures on digital asset management, audiovisual and digital preservation, copyright, metadata, and the impact of digital preservation on the environment. She is a founding member and former President of the Association of Moving Image Archivists (AMIA), and is currently on The National Digital Stewardship Alliance (NDSA) Coordinating Committee.
Gerry Lawson and Elizabeth McManus will discuss the Indigitization Program which has supported the digitization of almost 12,000 audio cassettes in British Columbia, Canada, its origins, and work with the Musqueam community.
Gerry Lawson is a member of the Heiltsuk First Nation. He manages the Oral History and Language Lab at the UBC Museum of Anthropology and oversees technology and training for the innovative Indigitization Program. Elizabeth McManus is the senior archivist for Musqueam Indian Band Archives.
Critical Cataloging: Identifying and Dismantling Bias in Description
Featuring guest speaker Treshani Perera (University of Kentucky)
Thursday, January 14, 2021, 11:00 AM - Noon, PST/2PM - 3PM EST
To view slides, click here: Workshop Slides [pdf]
To view handout, click here: Resource List [pdf]
Treshani Perera will discuss her experience incorporating critical cataloging principles as part of cataloging/metadata work, and provide examples and strategies for prioritizing diversity, equity, inclusion, and social justice in description. Non-catalogers and metadata librarians are welcome to attend.
Treshani Perera is the Music and Fine Arts Cataloging Librarian at the University of Kentucky, and also serves as the Head of the Fine Arts Cataloging Unit. Treshani provides cataloging for all formats in the Fine Arts Library, and oversees operations related to preservation, cataloging, processing, and special projects in the Fine Arts Library.
The speaker will deliver a 30-minute presentation followed by 10-12 minutes of Q&A. Please consider submitting questions ahead of time.
This program will present 45 minutes of instructional content, followed by Q & A. Interaction is encouraged, and helps ensure this session will be valuable and relevant to all!
This webinar offers something for everyone, from current students to senior professionals and longtime collectors thinking about making their passion into their profession. You'll find it especially helpful, though, if you're looking for work, currently in a short-term position, or anticipating a return to the job market in order to advance or move in a new professional direction.
Topics covered will include advice and resources for launching your career in audio preservation, moving across disciplinary boundaries or job sectors, and putting your best foot forward when you're ready to take your next professional steps. We'll discuss how to keep learning once you've left the structure of graduate school, as well as how to keep your spirits up during the stressful job-search process. Attendees should come away with concrete strategies for effectively framing their skill sets, actively shaping their careers, and enacting positive change in a professional world where stress is abundant and certainty remains elusive.