Fourth in a series of in-depth interviews with innovators and leaders in the fields of Risk, Compliance and Information Governance across the globe.
Andrea Kalas is a recent President of the Association of Moving Image Archivists (AMIA) and a member of the Academy of Motion Picture Arts and Sciences (AMPAS). Prior to her current role at Paramount Pictures as SVP of Archives, she led the preservation program at the British Film Institute. I had the opportunity to sit down with her in June to discuss bit loss, digital asset management, artificial intelligence and the benefits that millennials are bringing to the profession.
Andrea, you’ve spoken and taught at length about the challenges of bit loss and how it affects the race to preserve not just America’s rich film history, but that of other countries and cultures.
How does a global team like yours even begin to prioritize its preservation goals as you race against the clock?
Digital preservation has the basic goal of avoiding bit loss, technically. However, the work that really requires technologists and archivists to effectively collaborate involves the treatment of files as valuable records, art or artifacts. This goes against so much of how basic information technology systems work. For example the word “archive” has been used as a term to mean data written off-line and put on removable media on a shelf, never to be touched again. This is a sure path to bit loss. For an archivist this definition is completely counter-productive. It as much about communication and clear technical requirements from archivists as it is building technical solutions.