Saturday, November 28, 2015

SOME HISTORICAL AND MEMORABLE PHOTOS OF THE WORK OF BAAC - TEN PLUSS TWO YEARS IN BUSINESS

BAAC has been in active business for more than ten years aiming at improving the standard of the audiovisual archives of Estonia, Latvia and Lithuania. Come and join us in year 2016 in Vilnius.
Historical and memorable photos published for those who remember the days of work for BAAC.
No content descriptions of the photos made. No dates. No names. No years. Memories for the happy few who remembered the events showed on the photos. Happy viewing.

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Thursday, November 26, 2015

IMAGENES DE ARCHIVO: ETICA Y COMPETENCIA EN EL USO DE IMAGENES DE ARCHIVO

" .. El diablo esta en los detalles..."
La expresion " El diablo esta en los detalles " se deriva de la frase anterior, " Dios esta en los detalles ", expresa la idea de que todo lo que uno hace debe  hacers a fondo. Para trabajos academicos los detalles son los objetos esenciales para estudios. Que pasa con la produccion de Documentales que contienen fotos, grabaciones de sonido y material de archivo?

MATERIAL DE ARCHIVO: EL ACCESO Y LA REUTILIZACIÓN DE MATERIALES DE ARCHIVO EN NUEVAS PRODUCCIONES, SOLAMENTE ALGUNOS TEMAS CRÍTICOS.



El objetivo de la presentación de mi trabajo es poner de relieve los asuntos relacionados con el uso incorrecto de material de archivo en nuevas producciones de películas, televisión y radio. Nuevos documentales históricos son estrenados en el mercado cada año. Las Corporaciones de televisión nacionales de todo el mundo están transmitiendo programas en los que el contenido se basa en una reutilización activa y creativa de las producciones de películas, radio y televisión ya transmitidas.
La selección de las fuentes de las producciones es una tarea importante. Los documentos escritos son evaluados por los productores, se seleccionan las grabaciones sonoras, extractos de películas y producciones de televisión y se evalúan para las nuevas producciones. Mi trabajo es una aproximación crítica a la selección de las fuentes. La obra escrita sigue siendo la fuente más utilizada.
 Las imágenes conservadas en los archivos audiovisuales se han utilizado en películas y programas históricos de una manera incorrecta. La historia contada mediante la reutilización de tomas (shots) reales del suceso debe contener extractos relacionados con el mismo.
Mi Ponencia tiene que ver con el mal uso y la falta de estudios de la documentación primaria fiable. Por encima de todo: La famosa expresión idiomática: "... El diablo está en los detalles..." ha sido un recordatorio de la investigación de diferentes documentales vistos. Hechos desconocidos, escondidos en los detalles deben ser resaltados.


NORUEGA EN 1940 - INVASIÓN ALEMANA Y OCUPACIÓN DE NORUEGA - USO CRÍTICO DE LAS FUENTES.


La ciudad de Oslo tomada solamente por una orquesta militar alemana?
09 de abril 1940 :El ataque alemán contra Noruega llegó sorpresivamente para los líderes militares noruegos quienes eran de la opinión de que la amenaza principal era Rusia, no Alemania. Desde un punto de vista militar, la invasión a Noruega, la "Operación Weserubung”, fue un éxito.[1]

 A los generales alemanes se les dijo que los noruegos no se defenderían. Por lo tanto una orquesta militar alemana se embarcó en el nuevo crucero alemán " Blücher " . La tarea de la orquesta era tocar y marchar para el pueblo de Oslo,  hacer la invasión lo más amigable posible. A los soldados alemanes se les dijo que llegaron a Noruega para evitar una invasión británica a Noruega. El crucero alemán " Blücher " fue atacado desde la fortaleza Oscarsborg , el resultado fue el hundimiento de la nave junto con la orquesta militar alemana. Cuando los soldados alemanes llegaron a Oslo no había orquesta para tocar.
El material de archivo que muestra a soldados alemanes marchando junto a una orquesta el 9 de abril, no es la correcta. Sino una nueva orquesta tocó para los habitantes de Oslo el 10 de abril, el mismo día después de la invasión. Era importante para la propaganda militar alemana mostrar el éxito de la invasión a Noruega y Oslo.
Por lo tanto una nueva orquesta fue traída a Oslo en avión, Junkers G.38 , el 10 de Abril al aeropuerto de Fornebu cerca de Oslo. La orquesta vino desde Fliegerhorst kommantur Staaken cerca de la ciudad de Berlín, Alemania.[2]

09 de abril o 10 de abril 1940? Cuándo toca LA ORQUESTA?
Nuevos documentales históricos son estrenados en el año 2015 relativo a Noruega y la Segunda Guerra Mundial. La historia de la invasión alemana a Oslo se resalta en más de un programa que muestra a la  orquesta alemana tocando y marchando junto con los soldados alemanes en el día de la invasión - Abril 9. El uso incorrecto del material de archivo crea una imagen equivocada del evento que tuvo lugar en Oslo, abril 9. El ambiente entre la gente en Oslo fue relajado en favor del ejército alemán, pero no tan relajado como la propaganda oficial alemana quería mostrar.

El jefe de la invasión alemana a Noruega, el teniente general Nicolaus von Falkenhorst, daba por sentado que el Gobierno de Noruega cooperaría con los Generales alemanes. Él había reservado una habitación en KNA-Hotel en Oslo antes que la invasión se llevara a cabo para asegurarse que él conseguiría un buen lugar para alojarse.
Él planeó y ordenó la invasión alemana a Dinamarca y Noruega en 1940
Nikolaus von Jastrzembski nació en Breslau, Silesia, en Prusia, 17 de enero de 1885. Pertenecía a la nobleza polaca-prusiana. Fue ascendido a Coronel General (Generaloberst) después de la invasión a Dinamarca y Noruega. Murió en 1968.


OSLO ATACADO POR BOMBARDEROS ESTADOUNIDENSES EN ABRIL DE 1940?


La pregunta debe plantearse cuando usted está mirando un Documental recientemente publicado sobre Noruega y la Segunda Guerra Mundial. El título del documental es: "Offer eller Spion ? " (“Víctima o espía?” ) . La película ha sido estrenada en el año 2015 para el público, sólo para verla en cines. Hasta el momento la película no ha sido transmitida por la televisión. Tomas de imágenes de los aviones en la producción se utilizan de una manera que no es posible para la audiencia identificar el tipo de aviones usados. Los alemanes atacaron Oslo con Messerschmitt Bf 110c.  El material de archivo seleccionado para la escena de la invasión utilizado en la película: " Offer eller Spion " ( “Víctima o espía?”) muestra a los bombarderos estadounidenses atacando la Capital de Noruega, Oslo.


Messerschmitt Bf 110c., fue utilizado por los alemanes en abril de 1940 durante el ataque y la invasión a Noruega y Oslo.

Mi investigación por el mal uso de materiales de archivo en Documentales publicados para consulta pública, se ha centrado en los eventos relacionados con la Segunda Guerra Mundial y Noruega. Mi atención no es para resaltar el contenido oficial y la historia tratada en los Documentales, sino importantes detalles presentados como hechos que conducen a malas interpretaciones del hecho real.



GENERAL CARL GUSTAV FLEISCHER – EL GENERAL NORUEGO QUE GANÓ LA PRIMERA GRAN VICTORIA CONTRA LOS ALEMANES EN LA SEGUNDA GUERRA MUNDIAL


El sitio es Vadsø en Finnmark, en el Norte de Noruega. Cuando los alemanes atacaron Noruega el 09 de abril, ÉL estaba de guardia en Vadsø . Debido a las condiciones climáticas extremas en Vadsø él no pudo dejar Vadsø ni por barco ni por avión naval. Tenía que llegar a la ciudad de Tromso tan pronto como fuera posible. El 10 de abril se las arregló para hacer estallar Tromsø mediante aviones navales M.F11. Llegó a Tromsø después de volar en condiciones meteorológicas terribles. Como comandante en jefe de las fuerzas armadas de Noruega del norte en 1940, emitió órdenes a una movilización civil y militar total. El norte de Noruega fue declarado un teatro de guerra.[3]
Un Documental [4]  transmitido en Corporación de Televisión de Noruega (NRK) en el año 2015 acerca del General Fleischer (1883-1942), muestra que dejó Vadsø  en un avión. Eche un vistazo a las imágenes de archivo del avión utilizado. Es un avión Catalina hecho en Canadá y no en servicio activo en Noruega en 1940. El avión era un buen avión. El viaje a Tromsø habría sido cómodo para el General volando un avión Catalina. La verdadera historia es que dejó Vadsø en un viejo avión noruego: M.F. 11


El General noruego Carl Gustav Fleischer (1883 – 1942) fue el primer general aliado que derrotó al ejército alemán en la batalla de Narvik en 1940 en la parte norte del país.

Sólo un detalle?– NO. Haciendo uso incorrecto de materiales de archivo, es el principio de que la verdadera historia no es fiable. El drama del General Fleischers que intentó llegar a sus soldados, se ha reducido de ser un vuelo dramático a un agradable recorrido que dura alrededor de seis horas con un moderno avión – el avión Catalina. El Comandante en Jefe noruego quería luchar contra a los alemanes, tan pronto como fuera posible - y las condiciones de mal tiempo no fueron un obstáculo para hacerlo, lo que es claro para todos es que Noruega estaba en guerra con Alemania y no con la  Unión Soviética. ¿Un detalle solamente? – NO. Pero "... El diablo está en los detalles...".

LA EVACUACIÓN DE LOS SOLDADOS BRITÁNICOS, FRANCESES Y ALIADOS EN DUNKERQUE EN FRANCIA, 1940.

¿Qué pasa con los comandos noruegos durante la evacuación de Dunkerque en Francia? Ayudaron los soldados Noruegos a los británicos a evacuar en Francia en 1940?
Si usted está viendo un Documental relacionado con la batalla de Inglaterra, y si es un firme creyente de los hechos históricos presentados y publicados por un serio Documental titulado: "La Batalla de Inglaterra", usted podría estar en lo correcto. Pero la verdadera historia es diferente. Los comandos noruegos combatían a los holandeses en la Isla Walcheren en el año 1944. No hubo soldados noruegos presentes en las playas de Dunkerque en el año 1940.



Para el control los hechos, pagué una visita al Centro Noruego de Defensa de los Medios de Comunicación (The Norwegian Defence Media Centre), situado en Oslo en el castillo de Akershus. Ví la película "Norske comandos på Walcheren" (“Comandos noruegos en Walcheren).Para mi sorpresa vi las mismas imágenes utilizadas en el Documental mencionado. La película era una película realista sobre los duros combates en Walcheren en 1944. La batalla de Walcheren es tratada por el escritor noruego, Arnfinn Haga, en su libro: "Klar til storm” publicado en Noruega en 1984.


¿Detalles solamente?  Los detalles son importantes para cualquier investigador que desee informar sobre un acontecimiento histórico con la intención de que sean tomados seriamente.



LA CARABINA NORTEAMERICANA Y LA METRALLETA BRITANICA “STEN GUN”.

La historia de la juventud del famoso saboteador noruego, Max Manus (1914-1996), fue contada por un amigo en el Documental sobre Max Manus : “Max Manus , mannen og myten” ( “Max Manus , el hombre y el mito” ) . De niños estuvieron viviendo en Ljan que es un barrio residencial de la ciudad Nordstrand en Oslo, Noruega. Ljan se encuentra en las ondulantes laderas al este del fiordo Bunnefjorden . A ambos muchachos les interesaba el tiro. Max Manus poseía su propia arma de fuego, un Winchester calibre 22. Kjell Staff , un amigo cercano, contó una historia acerca de cómo ellos probaron la calidad de los disparos de Max Manus. Se uso material de archivo. Pero no vemos a los chicos haciendo uso de un Rifle Winchester calibre 22, sino una Carabina norteamericana y la metralleta británica. La historia que se cuenta en la película y el material de archivo utilizado no corresponde.



Esta es la Carabina norteamericana que el chico a la derecha en la foto está transportando. A la izquierda de la foto Max Manus está transportando una metralleta STEN GUN. No vemos ningún Rifle Winchester calibre 22, en absoluto![5]
LA ARQUEOLOGÍA DE LOS MEDIOS DE COMUNICACION:
MATERIAL DE ARCHIVO EN EL CINE.

Mi colección privada de Películas y Documentales contiene alrededor de 2000 títulos. La colección ha sido objeto para diferentes proyectos de investigación, encaminados a la búsqueda de materiales de archivos ocultos usados en Películas y Documentales. Para después buscar "la realidad" que se utiliza en las películas, es un negocio consumidor de mucho tiempo. Las noticias de los acontecimientos que se creyeron perdidos, podrían encontrarse en las películas hechas solamente para entretenimiento ligero.
 El resultado de mi investigación privada es una lista de 164 películas que datan desde 1941 hasta 2014, donde descubrí las imágenes utilizadas. En algunas películas el material de archivo ha sido utilizado sin ser descubierto como imágenes de archivo. El espectador de la película no supuso ver que los carretes de noticias reales de los acontecimientos hayan sido puestos juntos con escenas de ficción. Ninguna información acerca de la fuente de las imágenes se da en los Créditos finales de la película.

Las principales razones para hacer uso de las imágenes de archivo son:

Ø  Solamente por razones económicas. Es menos costoso hacer copias de películas realizadas durante un hecho histórico que hacer una reconstrucción del mismo hecho.
Ø  Para hacer que los espectadores estén conscientes de la época de los acontecimientos históricos tratados en la película.
Ø  Para evitar hacer reconstrucciones de los hechos en un estudio.
Ø  Porque la realidad es mejor en las noticias de televisión que lo hecho en el estudio de cine.
Ø  El Derecho de Autor (Copyright) no es un problema cuando se trata de carretes de noticias alemanas de la Segunda Guerra Mundial.
Ø  Para retratar a una persona mediante el uso de tomas reales de la persona, podría hacer la película mejor que usando actores.[6]

EL USO DE IMÁGENES DE COMBATES: UNA  ADVERTENCIA DADA AL ESPECTADOR-LA BATALLA DE MIDWAY.

Oliver Stone:”La historia no contada de los Estados Unidos” y el ataque a Pearl Harbour.


 “La  Historia no contada de los Estados Unidos” es una serie Documental que dirigió, produjo y sobre todo narró Oliver Stone. La película está dedicada a fomentar el pensamiento crítico y el debate sobre la política exterior estadounidense durante las últimas décadas. La Introducción y la Conclusión de la serie están hechas por el propio Oliver Stone. Cada episodio está compuesto por material de archivo: tomas de archivo, fotografías, videos y grabaciones de audio, mapas generados por computador, diagramas y clips de películas de ficción. Oliver Stone ha utilizado clips en alrededor de 60 películas de ficción y programas de televisión en el Documental sobre la historia de Estados Unidos. El material de archivo muestra a los bombarderos estadounidenses Douglas SBN Dauntless en acción.
Pearl Harbor es atacada en 1941 por aviones estadounidenses?
El listado de Documentales y Películas que han utilizado el mismo material de archivo, como la serie sobre la historia de Estados Unidos producida por Oliver Stone: "De aquí a la eternidad" (película), "El siglo de la guerra", "Semper Fi: Los infantes de marina de Estados Unidos en la Segunda Guerra Mundial" y "Días que conmocionan al mundo. Ataque a Pearl Harbour”. Los bombarderos estadounidenses, Douglas SBN Dauntless, se ven en acción en todas las producciones mencionadas.
No es común que usted encuentre que en la introducción de una película  le adviertan que se utilizan escenas reales de combates. Los aviones destruidos por el enemigo no son escenas de ficción, sino escenas reales de la batalla. Las fotos fueron tomadas por los hombres de servicio y noticias durante la batalla.

La película histórica, Midway, sobre la batalla naval de Midway en el Pacífico, en junio de 1942, se produjo en 1976. Una introducción escrita al docudrama se presenta al comienzo de la película conteniendo una declaración acerca de los archivos utilizados. Se usaron tomas de cine reales filmadas durante el combate.
 …La competencia ética es una clave para diferenciar entre tener habilidades y tener un verdadero sentido del profesionalismo…

UNA ILUSTRACIÓN DEL MIEDO

Desde un punto de vista ético, las fuentes utilizadas deben ser identificadas claramente. "El miedo" expresado o mostrado al hacer uso de clips de películas sin una nota sobre el título de las películas, no es aceptable. "Psicosis" es una famosa película de terror conocida por muchos. Las escenas son bien conocidas. Las fotos o clips de la cara de la actriz estadounidense Janet Leigh  expresando miedo, se ha utilizado como una ilustración sin mencionar la película original desde donde la escena está tomada. El clip se pone en la lista final de Créditos al término del Documental, pero pocos leen la lista de los Créditos.7
La historia no contada de los Estados Unidos. Documental de Oliver Stone.

 La actriz norteamericana Janet Leigh, en la pelicula de terror " Psicosis".

FOTOS DE HECHOS HISTORICOS Y PERSONALIDADES COMO FUENTES PARA LA INVESTIGACION ACADEMICA.


El lugar es el Museo de León Trotsky (Museo Casa Trotsky), situado en la Ciudad de México. Pagué una visita al museo en el año 2011. En una de las paredes del edificio se muestran fotos de Leon Trotsky. León Trotsky estuvo en Noruega desde 1935 hasta 1936. Él tenía muchos amigos en Noruega. Una de las fotos en la pared muestra León Trotsky con la familia y los amigos noruegos durante un día de campo, cerca del  mar en la parte sur de Noruega en agosto de 1936. El lugar es Stangnesholmen. Los nombres de las personas no están puestos en la foto, cerca de cada uno de ellos.
Durante los trabajos de investigación posteriores descubrí que la foto había sido utilizada para ilustrar artículos y libros que tratan de la vida de León Trotsky,  haciendo uso de información incorrecta sobre el lugar de la celebración del día de campo y de los nombres de las personas en la foto.[8] El día de campo (picnic) tuvo lugar cerca del mar y no en las montañas de Noruega como un escritor ha escrito.[9]
El error cometido una vez fue repetido por otros escritores que quisieron hacer uso de la famosa foto.

Durante mi visita privada al Museo en  Ciudad de México compré un DVD sobre la vida de León Trotsky en México: "Trotsky y México: Dos Revoluciones del Siglo XX", dirección de Adolfo García Videla, 2007.
La foto ha sido utilizada en el Documental sin ninguna información sobre el contenido de la misma. Además, la foto se ha hecho más pequeña (se redujo). Esto significa que un importante amigo de León Trotsky quien está sentado en una silla ha sido cortado en la foto. Su nombre es Olav Scheflo quien fue un político importante en el Partido Laborista Noruego. La estadía de León Trotsky en Noruega fue tema de conflictos y debates políticos. El Editor Olav Scheflo y  el Editor Konrad Knudsen apoyaron la estancia de León Trotsky en Noruega.





Desde la izquierda: Hilda Knudsen, Bjørn Hilt (en el fondo), Inge Scheflo, Natalia Sedova, Beret (Mosse) Scheflo, Trotsky, Kathinka (Thinka) Zahl, Martin Skjærseth (con en el periódico Sørlandet), Konrad Knudsen, Botolf Flood-Engebretsen (Samorg-sekretær) y Olav Scheflo sentado en la silla.

QUIEN FUE LEON TROTSKY  Y  CUAL FUE  EL OBJETIVO DE SU VISITA A NORUEGA EN 1935?

León Trotsky nació Lev Davidovich Bronstein el 7 de noviembre de 1879. Fue un revolucionario bolchevique, teórico marxista, un agitador, un líder de la Revolución de Octubre de 1917 en Rusia y más tarde un comisario de Asuntos Exteriores y de la guerra en la Unión Soviética.
En 1929 fue destituido de todos los puestos de poder y posteriormente exiliado. Cuando llegó a Noruega en 1935 el objetivo de su visita no era para abogar por mejores relaciones políticas entre Noruega y la Unión Soviética. Por el contrario: había sido expulsado del Partido Comunista y deportado de la Unión Soviética. En Noruega fue un invitado de Konrad Knudsen. Su estadía en Noruega no fue una experiencia agradable para él. En 1936 se trasladó a México, donde fue asesinado en 1940 después de la orden de Josef Stalin.
La foto del día de campo (picnic) cerca del mar en Noruega se ha utilizado para ilustrar la relación normal entre Noruega y la Unión Soviética en un artículo de prensa. El error se comete una vez más debido al hecho de que el contenido de la foto no ha sido descrito de una manera correcta.

CONCLUSIÓN

Las fuentes presentadas le podrían dar a usted una impresión superficial de que el asunto no tiene importancia. ¿Qué importa el uso de aviones equivocados describiendo acontecimientos históricos? Un avión es un avión y el espectador de la película o del programa de televisión emitido, no es capaz de ver la diferencia entre las escenas debido a la velocidad de las imágenes en movimiento. Pequeños, invisibles pero importantes detalles se han destacado en mi Ponencia con el objetivo de resaltar que el uso de imágenes de archivo debe ser tratado de forma seria. “ ... El diablo está en los detalles..."-haciendo uso de vehículos, armas y aviones para describir un hecho conocido por muchos, deben ser tratados tan realistas como sea posible.
 Si el Presidente de cualquier País está manejando un automóvil "Ford" en un desfile oficial, tienes que conseguir imágenes de un auto "Ford" para el Documental. Por encima de todo: vemos una creciente falta de respeto y reconocimiento de las fuentes seleccionadas de programas de radio, programas de televisión y de películas entre los investigadores y productores de Documentales. La Selección de fotos e imágenes de archivo significa que sabes lo que estás buscando. Una recomendación práctica es el estudio de libros donde usted encuentra las fotos que necesita.
 "Warbirds/ Illustaded. Armamento blindado. Londres" es el título de una empresa que publica libros sobre aviones en todo el mundo - una herramienta recomendable para cualquier investigador en el negocio de encontrar buenas fuentes para la película.[10]

Los Realizadores de Documentales y Periodistas deben tener plena responsabilidad de la información proporcionada por el trabajo independientemente del medio. La Información seleccionada debe ser verificada antes de emitirla. Las fuentes necesitan ser identificadas claramente. La información visual, hechos, fotos y documentos escritos deben tratarse como iguales fuentes para el trabajo de los Realizadores de Documentales, para quienes el comportamiento ético es la base de sus proyectos.
Los hechos o contexto, incluyendo información visual no se distorsiona para crear una historia de interés para el público y como una necesidad para beneficio económico de la obra.

Tedd Urnes

Teddview Audiovisual Archival Management (TAAM)
June 16, 2015

______________________



[1] Asbjørn Øksendal: Operasjon Weserubung. Vidkun Quisling og forspillet til 9.april 1940
[2] Cato Guhnfeldt: Fornebu 9.april. Wings Forlag A/S. Page 303- 306
[3] Torkel Hovland: General Carl Gustav Fleischer. Storhet og fall. Forum-Aschehoug. Page 82-83
[4] Makten og Æren (The Power and The Honour). AS Videomaker. 2005. The documentary was transmitted by NRK in 2015.
[5] Max Manus, mannen og myten. Dokumentar. Prod.år.:1996
[6] Tedd Urnes: Media Archaeology: A critical approach to the policy of active reusing of archival footage in audiovisual archives worldwide. 2010. Pages 23.
[7] Tedd Urnes: Audiovisual Archives: An Essay on the Policies of Access to Audiovisual Archives  for Academics,Teachers, Researchers, and Students. IASA Journal, no 43, January 2014, Page 80-88.
[8] Joar Hoel Larsen: Gjentar historien seg? Fra Leo Trotskij i 1936 til Dalai Lama 2014.
[9] Modkraft. Dk-Progressiv portal.
[10] Tedd Urnes: Television Archives: Content descriptionof the collection of television archives.2010.

Tuesday, November 24, 2015

REPORT: THE HISTORY OF BALTIC AUDIOVISUAL ARCHIVAL COUNCIL (BAAC)

REPORT:THE HISTORY OF THE BALTIC AUDIOVISUAL ARCHIVAL COUNCIL (BAAC)
INTRODUCTION
The Board of the Baltic Audiovisual Archival Council (BAAC)  has made  decision to document the history of BAAC with reference to the tenth anniversary of the work of BAAC in year 2015. The goal was to publish a book about the association.This project was not possible to make due to the cost of work.
The goal for the paper presented is to publish a preliminary report about the history of the Baltic council. The report is also dealing with the prehistory of the association ,and the events leading to the  setting up  a Baltic working group.  Therefore I have to report about meetings, venues, conferences, individual persons and above all: The support from two international associations in the field of audiovisual archives: The Interntional Federation of Television Archives (FIAT/IFTA) and the International Association of Sound and Audiovisual Archives (IASA).  Important support from the Norwegian Broadcasting Corporation (NRK) and Swedish Television(SVT) was a must to establish a Baltic council for education in the field of audiovisual archives.
The report is focusing on the content of the Bylaws of BAAC signed at the Estonian Embassy in Stockholm, Sweden, on March 21, 2006. The philosophy of the document is based on ideas and experience known  among members of IASA and FIAT/IFTA.
The report contents different events, conferences, seminars and issues of importance to members of the audiovisual archives in the Baltic countries: Estonia, Latvia and Lithuania.
The preliminary report of the history of BAAC is not ment to present the total history of the work done. I take for granted that some members want to focus on other issues than those I have chosen. A critical approach to the report by  members of BAAC might result in an up-dating of the content of the report?



 THE HISTORY OF BALTIC AUDIOVISUAL  ARCHIVAL COUNCIL (BAAC)
About events leading to the set up of Baltic Audiovisual Archival Council(BAAC)
The site is Antalya, Turkey. The official event is the FIAT/IFTA Conference 2002. The dates for the international conference are October 14- 17.
Delegates from Estonia, Latvia and Lithuania are participating at the conference. The General Secretary of FIAT/IFTA, Tedd Johansen (later Urnes), is also chairing a working group to support members from the Baltic countries. According to FIAT/IFTA statues and policy ,the set up of regional seminars is an important part of the international work of the association. The first FIAT/IFTA Nordic –Baltic  Seminar took place in Tallinn, Estonia, May  26-27, 2000. The seminar was hosted by the Eesti Television and was held at the Hotel Viru located in downtown Tallinn, the capital of Estonia.The members of the organizing committee were: Jyrki Stolt,YLE, Reet Harkmaa,ETV, Tedd Johansen,NRK and Lasse Nilsson,SVT.
During the conference in Antalya, representatives from the three Baltic countries had informal meetings aiming at setting up a conference in Latvia. The contact person for audiovisual archives in Latvia was Andris Kesteris. He speaks Latvian because his family had fled to Canada after the Second World War. We had already a working group for the Baltic countries  within FIAT/IFTA chaired by Tedd Johansen and a contact person who knew the archival situation in Latvia, Andris Kesteris. This is how it all  began: A result of talks with dedicated persons in Antalya in year 2002.
The result of the informal talks and meetings was an invitation by Director General of Latvian Television, Uldis Grava, to hold a seminar at the LTV facilities in Riga, Latvia. The names of the persons who participated in the meetings leading to the seminar in Riga, were: Andris Kesteris, Canada, Tedd Urnes, Norway, Rasa Miskinyte, Lithuania , Reet Harkmaa, Estonia and Uldis Grava, Latvia. No reports were made of the meetings.
We wanted to set up an independent association for the Baltic countries. The official name of the association was not yet decided. The Independent Canadian/Baltic Working Group (CBWG) made a formal contact with The Nordic Branch of IASA about the issue. The later President of IASA, Jacqueline von Arb, supported the work of setting up a new association. Different names for the new association were suggested. ”Task Force for Pan-Baltic Council for the Preservation of Cultural Heritage –or of Audiovisual Material”  were suggested by Jaqueline von Arb. Later on we talked about ” Pan Baltic Council for Preservation of Cultural Heritage ”.
The close contact with The Nordic Branch of IASA led to the seminar in Riga in year 2004, September 30-October 3. The seminar was supported by Norwegian Broadcasting Corporation(NRK) represented by the Head  of Archive & Reseach,NRK, Bjarne Grevsgard. He gave the key note address and participated as a delegate, too. The seminar in Riga was not limited to Baltic countries. It was an international seminar.
Latvian Television, Lithuanian Radio & Television , Estonian Television and Swedish Television supported the seminar. The main host for the seminar was The Latvian Television(LTV).
The title for the seminar was: ” Partnerships, Access and Preserving Our Cultural Heritage ”.

THE BALTIC COUNCIL
In April, 2005, a meeting took place in Riga aiming at a final decision of making a permanent Baltic Council. The new council was elected. The members of the council were:President: Piret Noorhani, Estonian Literary Museum,Vice-President: Rasa Miskinyte, Lithuanian Radio & Television, Vice-President: Inga Vicane, Diena Library,Riga, Secretary: Nora Licite, Latvian Television and board members: Tedd Urnes,NRK, Lasse Nilsson, SVT, Andris Kesteris, National Archives of Canada, Reet Harkmaa, Estonian Television, Jan Aasmund Jakobsen,  Norway, Ivi Tomingas, Estonian Filmarchives, Vilnis Auzins, Latvian Museums of Photography, Eha Vainsalu, Estonian Television, Lelde Neimane, Occupation Museum,Riga, Alexander Jaransky, Lithuanian Radio & Television  and Egle Gudelyte, Lithuanian Radio & Television.
Those of the Board members listed who took an active part in the talks about setting up an independent association for the Batic countries during the FIAT/IFTA conference in Antalya, Turkey in year 2002, were: Rasa Miskinyte, Reet Harkmaa, Andris Kesteris and Tedd Urnes. Director General of the Latvian Television, Uldis Grava, did not take part in the work because he left LTV in Janaury 2004 to work for Janunais Laiks, the party of Prime Minister Einars Repse. Uldis Grava worked for LTV from 2002 to 2004. The host of the Riga seminar was  Deputy Director General  Edgars Kots.

BALTIC AUDIOVISUAL ARCHIVES COUNCIL(BAAC)
The main goal of  BAAC Board meeting in Stockholm,Sweden, on March 21, 2006, was to sign the document for registration of BAAC as a non-profit organization at the Estonian Embassy.
Participants at the Embassy were the elected board members: Piret Noorhani, Juozas Markauskas, Inga Vilcane, Andris Kesteris, Tedd Urnes, Lasse Nilsson, Lars-Gunnar Bengtsson and Kristine Paberza.
The board meeting was held at the premises of Swedish Television, Stockholm.
Eva-Lis Green, Swedish Television and Gunnel Jønsson, SRF Radio Archives, IASA, attended the meeting.
Planning of the Riga seminar 2006 and IASA/BAAC conference 2007 were important issues on the agenda. Opening of the BAAC old webpage at the new address and elaborating its new version were also discussed.
The venue chosen for the first formal meeting of the intrim board of the Baltic Audiovisual Archival Council(BAAC) was the old and beautiful capital of Latvia, Riga. The year was 2005. The month was April. The atmosphere of the old medieval Hanseatic city at the Baltic coast was relaxing. The host for the meeting was the Latvian Television. The aim of the meeting was to twofold: Is it possible to establish a Pan-Baltic audiovisual archiving cooperative organization and do we want to organize a second Riga conference in the fall of 2005? Tedd Urnes, NRK, chaired the meeting. Lasse Nilsson, SVT, was invited to give a limited, but a provocative presentation on the topic: “Why are we doing all this conferencing and networking – what is it good for? “. He asked many crucial questions: Is it worthwhile for our organizations to be investing in this kind of acquisition of knowledge? Will there be people ready to accept the offices and responsibilities in the board of such an organization? How much work will it mean, that has to be carries out in addition to our usual responsibilities? How will the officers of the board be elected? How do we deal with the economy of the organization; funding, membership fees, bank account? What about cooperation with already existing organizations on the audiovisual archiving scene? What will be the main objects of the organization?

THE NAMES OF MEMBERS OF THE INTRIM BOARD OF THE BALTIC AUDIOVISUAL COUNCIL IN RIGA
The Baltic Audiovisual Archival Council (BAAC) is born.
The presidency was accepted by Piret Noorhani, Estonian Literary Museum, Vice Presidents were Rasa Miskinyte, Lithuanian Radio & Television and Inga Vilcane, Diena Library, Secretary Nora Licite, Latvian Radio & Television, members of the board: Andris Kesteris, Library and Archives of Canada, Tedd Urnes (Formely Tedd Johansen), NRK, and Lasse Nilsson,SVT.
All other participants of the meeting signed up as members of the Council.
An answer to the many crucial questions asked by Lasse Nilsson was given by Tedd Urnes who presented a draft document of statues for the new audiovisual council. The draft was accepted as such until further elaboration at a coming membership assembly.
The working fields of the new board was to establish the cooperation with the Nordic Branch of IASA seeking possible funding for the organization and to work out the programme for the Riga 2005 conference.

BAAC BOARD MEETING IN STOCKHOLM 2006-THE ESTONIAN EMBASSY
The BAAC Board elected in September in Riga had its open meeting in Stockholm on March 21, 2006.
The aim of the board meeting was the legalization of BAAC as a non- profit organization. The Estonian Embassy at Tyrgatan in Stockholm was the first venue for the participants at the meeting.  The 2nd Secretary of the Embassy, Sven Tølp, welcomed the participants wishing the organization every success for the future. BAAC documentation was signed for the registration of BAAC as a non-profit organization and the signatures were authenticated by Sven Tølp.
BAAC was registered as a non-profit organization in Estonia (Tartu), April 4, 2006. The official address of the organization is Vanemuise 42, Tartu 51003, Estonia. BAAC has an official logo and stamp. The Council is registered under the laws of the Republic of Estonia.

Participants at the Estonian Embassy were the elected Board members: Piret Noorhani (Estonia), Juozas Markauskas (Lithuania), Inga Vicane ( Latvia), Andris Kesteris(Canada), Tedd Urnes (Norway), Lasse Nilsson (Sweden), Lars-Gunnar Bengtsson (Sweden) and Kristine Paberza (Latvia).
The Board meeting was continued at the premises of Swedish Television chaired by Eva-Lis Green and Gunnel Jønsson, SRF Radio Archives.  On the agenda for the meeting was the opening of the BAAC old webpage at the new address and elaborating its new version. Raising funds for BAAC 
activities and the planning of the Riga seminar 2006 and IASA/BAAC Conference in 2007 were also discussed. The day ended with a most stimulating tour to the archives, news rooms and studios of Swedish Television guided by Lasse Nilsson, Lars-Gunnar Bengtsson and Monika Hurtig.

THE FOUNDERS OF BAAC
The founders of BAAC were dedicated librarians, archivists, academics, media technicians, film-and radio producers and above all: Persons who had participated in international work for years in the field of the development of audiovisual archives. The main aim of the working group was to set up an organization in the field of archiving of the Baltic countries. The work was not limited to sound archives or television archives or movie productions but also libraries and archives for documents, papers and photo collections were targets for the coming work of the organization.
The supporters from international archival bodies came from the International Federation of Television Archives (FIAT/IFTA) and the Nordic Branch of International Association of Sound and Audiovisual Archives (IASA).
The new organization was also supported by The Norwegian Broadcasting Corporation (NRK), Norway, Swedish Television, Sweden and YLE, Finland.
Canada was represented by Library and Archives of Canada.

THE VALUES OF THE NEW BALTIC COUNCIL FOR AUDIOVISUAL ARCHIVES
The members of the founding working group had to ask some some crucial questions before the final signing of the official documents of the new council.
-          What kind of council are we going to set up?
-          What are the values for the work?
-          Do we want to set up an international elite group of dedicated experts in the field of audiovisual archives?
-          Do we want an aristocratic club made for some members only?
-          Do we want to make a new venue for media companies and businessmen to exchange commercial information annually?
-          Do we want a club for the heads of the audiovisual archives of different television and radio companies?
-          What were the needs of supports of the audiovisual archives of the Baltic countries?
-          What kind of language should be used: Russian, German or English?
-          Do we want a democratic organization where the members of the board could be elected as individuals?
-          What about the values of the principles of freedom of access to information, ideas and works of imagination and freedom of expression embodied in the Article 19 of the Universal Declaration of Human Rights, for meeting the social, educational, cultural, democratic and economic needs of people, communities and organizations?
-          What about controversial issues connected to ethnic origin, citizenship, language, race, gender, political philosophy or religion?
-          Seminar, conferences, training meetings and workshops: Aims for the work of the council?



COMMITMENT OF THE COUNCIL OF BAAC: BYLAW II: ACTIVITIES-MINI-SEMINARS
With reference to bylaw II. 2.4.The council are committed to set up conferences, seminars and workshops. The result of the goal of BAAC was the organization of mini- seminars for the members.
Th first travelling mini-seminar was organized by Lithuanian Television. Vilnius was the venue for the seminar. The year was 2007. The month was February. The delegates experienced a cold but nice city.The host of the mini- seminar was the Lithuanian Television. The pratical work was arranged by the Vice-President of BAAC, Juozas Markauskas and the Head of the Lithuanian Television Archive, Jonas Korys. The Lithuanian Television and Radio Director Kestutis Petrauskis was also responsible for the successs of the seminar.
The goal of the mini-seminar was to invite new people from the Baltic audiovisual archives to join the BAAC programmes that included themes like:
-To increase public interest for awareness of audiovisual archives of the Baltic countries
-To inform about the importance of sources stored in audiovisual archives for academic studies
-Access to cultural, educational, historical sources stored in audiovisual archives
-New training possibilities set up by the Council of BAAC
-The latest news in the progress of digitalization programmes of the members of BAAC and official reports of the progress in the field from different archives not located in the Baltic countries
-Television companies: Updating of the reports of the work of Television and Radio archives
-The development of National Archives:The content of the archives, Legal deposit Laws, preservation policy, storage of old tapes and films, document and paper collections,  access policy for public use
The programme committe of the seminar made the programme with reference to the goals mentioned. The result of the work was a good programme including keywords like:
-          Future thoughts about BAAC, reuse of the archival footage, mass migration, content description, digitalization policy, storage and preservation works.
The last part of the programme was a visit to the archives of Lithuanian Radio and Television .

ESTONIA. TALLINN – THE SECOND MINI-SEMINAR
In year 2007 the Counsil set up a mini-seminar in the capital of Estonia, Tallinn. The month is June.
The publishing of the positive information of the first travelling mini-seminar in Vilnius, Lithuania resulted in an increase of the number of participants at the seminar in Tallinn. The host of the seminar was Estonian Public Broadcasting Corporation. The venue of the seminar was the Estonian National Library located in the center of Tallinn. The seminar was supported by the Estonian Ministry of Education and Research. To highlight subjects of interest for audiovisual archives of the Baltic countries were the main goals for the mini-seminar.Keywords for the programme were preservation and reuse. The new director of EPBC, Margus Allikmaa, supported the seminar.Colleagues from Estonia, Finland, Sweden and Norway presented various thematic issues.
The programme of the seminar was dominated by speekers from Sweden, Norway and Finland. Gunnel Jønsson worked at Swedish Broadcasting Resources as Head of Radio Archive and Technical Group of the Sound Archives. Besides, she was Secretary-General of IASA. Lasse Nilsson worked at Swedish Television and former Secretary-General of FIAT/IFTA. Tedd Urnes worked at the Norwegian Broadcasting Corporation (NRK) as senior adviser and former President and Secretary-General of FIAT/IFTA. The contribution from Finland was: Eila Haikarainen from YLE Finnish Broadcasting Corporation, Riita Koskivirta from Finnish Photomuseum  and Paavo Rytsa from YLE Finnish Broadcasting Corporation.
The paper presented by Gunnel Jønsson dealt with definitions of the concepts of archives in the audiovisual world. Information of other international media associations was given with focus on the work done by IASA in different fields. Lasse Nilsson dealt with the work and planning of migration projects within SVT. From videotape to digital file was the subject he focused on. Tedd Urnes presented a paper dealing with content description of unknown films about Estonia. Elementary training in making a minimum data list for a catalogue of films was also a subject for the seminar. A joint presentation made by Lasse Nilsson and Tedd Urnes about reusing of archival footage in the future took place.
Paavo Rytsa gave a paper on Finnish culture and the living archive. Riita Koskivirta presented a report about preservation of original photographs. Eila Haikatainen was preoccopied with issues concerning publishing of archive photos and copyrights.



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 BAAC: KEY NOTE SPEECHES
” …A keynote in public speaking is a talk that establishes the main underlying theme of the seminar or a conference. The keynote address is supposed to emphasize the framework for the following programme of events , the core message or the most important revelation of the conference. The task of the keynote speaker is to draw the attention of the delegates to the principal themes of the conference…”.
To make use of keynote speakers at the seminars and conferences set by BAAC are not a commen policy. Welcome speches made by official representatives from the Norwegian Embassy and the Swedish Embassy have been a tradition together with a speech to officially open the conference.
The archive of BAAC has reports of some of the keynote speakers only.
 Historian Hans Fredrik Dahl, Director of Fritt Ord, Erik Rudeng, The Head of the Audiovisual archives of NRK, Bjarne Grevsgard and Andris Viks from The Ministry of Culture of Latvia.
The Norwegian historian Hans Fredrik Dahl gave a speech in 2004 at the conference in Riga. The title of his paper is: ” History of the Digital Mode ”.
The Norwegian Director of Fritt Ord, Erik Rudeng, gave a speech at the conference in Riga in 2006.
Fritt Ord ( The Freedom of Expression Foundation, Norway) is located in Oslo. The title of his speech is: ” Freedom of Speech-The future value of audiovisual archives in a Democratic society”.
The issues of freedom of speech, access to information and fredom of expression are stated in the bylaws of BAAC: Bylaw: II.ACTIVITIES: 2.10: endorsing the principles of freedom of access to  information, ideas and works of imagination and freedom of expression embodied in Article 19 of the Universal Declaration of Human Rights, for meeting the social, educational, cultural, democratic and economic need of people, communities and organizations.
The Norwegian Director of the Audiovisual archives of Nrk, Bjarne Grevsgard, presented his paper at the conference in Riga in year 2005.
The Latvian representative of The Ministry of Culture of Latvia gave his speech at the conferenc in Riga in 2007.






 ANNUAL CONFERENCE AND SEMINAR
The Council is committed to organizing conferencs, seminars and workshops
(Bylaw II. Activities. 2.4)
The arrangement of the annual conference or seminar is the main task for the Board of BAAC. The programme committee has to evaluate the proposals received. A final decision about the content of the programme has to be made with reference to the aims of BAAC. Subjects related to the development and work of audiovisual archives must be highlighted in the final official programme. The selection of items is limited to themes like: Exchange of information and new ideas, preservation work of tapes, films, sound recording, books, photos are among important subjects for the programme. The introduction of new technology to the libraries and archives is a permanent theme for the conferences. The main keyword is: Digitalization. Reports from different libraries, archives and collections about the latest news within the development of the digitalization of the archival materials, are on the agenda every year. Academic research and access to the audiovisual archives for academics have been an increasing theme for the content of the seminars and meetings. Training policy of the media librarians working for the Baltic archives is a topic to report on.

THE RESULT OF A CRITICAL EVALUATING OF THE CONTENT OF THE PROGRAMMES OF THE SEMINARS AND CONFERENCES.
The web site of BAAC is a good source for an evaluation of the programmes whether BAAC has succeed in fulfilment of the status and the aims of the association?
The selection of the content of the programmes and the main themes to be presented might raise some questions about  the reason to repeat the same issues and subjects year by year? The correct answer to the question is that the presenters are dealing with the same issue year by year with an up-dated version of the former paper presented. The main issue is digitalization of any archival collections: old tapes, old films, photos, written documents, sound recordings, music recordings – any archival material which meet a final storage within a library or an archive. Any professional lecturer can give a speech and present a paper for any audience but not for the same audience year by year. This means that you might find the same published documents on internet presented at different conferences worldwide by the same person. The professional speakers will only let you publish a short version of the paper or no paper at all. Web site of BAAC does not give you a complite picture of the information given at the conferences because some presenters have not permitted the publishing of their papers. BAAC has published on the web site 144 papers presented at the conferences and seminars of BAAC from year 2004 to 2014 . To get a real impression of the content of the different seminars and conferences, the study of both the published programme and the list of presentations left after the meetings are a must.

THE LIST OF OTHER TOPICAL THEMES WORTH TO MENTION
Even if the talk about new technology has dominated the programmes for years, bylaws related subjects like content description of radio programmes, television programmes, movies, untransmitted archival films, amateur recordings of sound and moving images and above all: Media archaeology for academics , journalists and professional researchers have been presented too.

THE PRINCIPLES OF FREEDOM EMBODIED IN ARTICLE 19 OF THE UNIVERSAL DECLARATION OF HUMAN RIGHTS
The BAAC bylaw, 2.10 deals with the matter. Few international associations want to add the question of human rights to the guidelines of the association. The main reason for not dealing with the matter is the official policy of the very country where they live. Human rights are not an issue for considerations for the government of the country. What is at stake for the content of the audiovisual archives if censurship is the official policy of the country? The content of the archives is limited to documents selected. The standard of the archive for future researchers is restricted to a limited number of papers. What about an active access policy for people when they are denied access to information due to lack of essential sources of information?
The introduction of the policy of digitalization is an important change for the citizens who want to take part in democratic work of the country. Easy access to information is the practical result of the digitalization of archival materials which means more exchange of facts and opinions among people.

CULTURAL HERITAGE –NATIONAL LIBRARY AND NATIONAL ARCHIVES-LEGAL DEPOSIT LAW
BAAC has not made use of key note speakers at every conference only four have been reported. When keynote speakers have been selected for the opening of the conference the subject chosen is cutural heritage, the importance of digitalization and culture values of the archives.
Official reports of national archives or libraries are subjects for evaluation at most of the seminars and conferences due to the fact that the national bodies have to take care of different old materials made by television companies, radio corporations and the movie industry. The cultural heritage of any country is connected to the philosophy and the introduction of legal deposit law of all transmitted and published materials. The main question asked about how to preserve the cultural heritage of a country  is answered by making legal deposit law a reality. The selection policy of the materials made by professional librarians for years is history. No selections of published archival materias anymore.

INFORMATION ABOUT NEW PROJECTS AND DIGITAL SYSTEMS MENT FOR SALE
BAAC: A NEW SALES DEPARTMENT FOR INTERNATIONAL COMMERICAL INTERESTS?
”… BAAC is a non profit organization of juridical and natural persons, founded as a voluntary association…”. Quotation taken from the Bylaw I.General of BAAC. Non profit association and not an association for a sale market for commercial companies in different fields. Anyway BAAC has to invite companies who are producing new tools for the libraries. Presentations of new projects initiated by independent and commerical companies have been on the agenda at every seminar. The challenge for the programme committee is to make a clear distincion between business and fact information of the products presented. A close study of the programmes shows that the programme committee has succeeded in keeping up a balance between important facts searching and commercial interests of the companies.
The conflict between business values and the values of  national cultural information were highlighted by the Norwegian Professor Hans Fredrik Dahl in his paper presented at the first BAAC seminar in Riga in 2004. He asked the question: ” … Are we facing a future where national cultural information will be dominated by global firms?...”. The title of his lecture is: ” History of the Digital Mode ”. Only a limited abstract of his paper is accessable for public viewing.

THE VENUES FOR THE ANNUAL CONFERENCES
The head office of the Council is located in Tartu, Estonia. The Council is registered under the laws of the Republic of Estonia and functions according to these laws.
Nevertheless the desicion to set up meetings and conferences in the capitals of all three Baltic countries was introduced as a rule at an early stage of the association. This means that Tallinn, Riga and Vilnius have hosted the conferencs apart from one where Helsinki, Finland (2012) was chosen for the annual conference. The record of the conferences and annual seminars shows that the city of Riga has been chosen seven times while Tallinn has been the venue two times and Tartu one time. The city of Vilnius has welcomed BAAC one time but the city has hosted local seminars too. The annual event of BAAC will take place in Tallinn in year 2015.

AN EVAUATION OF THE THEMES PRESENTED AT THE ANNUAL EVENTS WITH REFERENCE TO THE TITLE OF THE MEETINGS
The list of the titles of the annual seminars and conferences of BAAC:
Riga Seminar 2004 Programme (2004), Pan-Baltic Images: Reading out to the world Pan-Baltic Imges :Reaching out to the world, Riga (2005), Audiovisual Archives: Access and Service in the Public Interest, Riga (2006), IASA-BAAC Conference 2007.Building an Archive for the Future, Riga (2007),Transformation as Stability: Audiovisual Archives in the Era of New Media, Tartu, Estonia (2008), Aggregation and Management of Audiovisual Content in the Digital Space, Riga (2009), Back to Analogue: Preserving audiovisual resources for digitisation and Posterity, Riga (2010), Digital Access and Research, Tallinn (2011),  From digitization to access and research, Helsinki, Finland (2012), Open Doors: New Ideas, New Technologies, Vilnius (2013). Joint IASA-BAAC Conference 2013., Safe and reusable: Ideals versus real life, Riga (2014).
Keywords like: Access, reuse, digitalization, public service, research, content and new technology show that the topical themes are repeated year by year contenting up-dated information in the fields of common interest for the Baltic members of BAAC.

WORKSHOP REPORT
Tallinn was the venue for the workshop dealing with issues of conservation of photography. The year for the workshop was 2012.
THE PRESIDENTS
The founders of BAAC viewed bylaws and guidelines set up by different international associations like IASA ,AMIA and FIAT/IFTA. Agreement among the founders was made about the election of the President: The President had to be elected from one of the Baltic countries because the goal of BAAC was to make the members of the Baltic countries the dominated part of the members of BAAC.
The present President of BAAC is Zane Grosa. She was elected in year 2011. From 2012 she is the head of Audiovisual Reading Room at the National Library of Latvia. Zane Grosa holds Masters of Music from SUNY at Stony Brook, USA , a Bachelor of Music from the Music Academy of Latvia and Information Management at RMIT University in Melbourne, Australia. Since 2009 she is a board member of BAAC.
 Zane Grosa succeeded Juozas Markauskas from Vilnius, Lithuania who hold the office from 2007 to 2011. Juozas Markauskas made the first web site of BAAC. He is editing and improving the web site because he graduated in the field of digital preservation and archival systems from the University of Vilnius.
Juozas Markuskas is working as the Head of Digitalisation Department, DIZI Heritage, Lithuania.
Juozas Markauskas was elected President after Piret Noorhani decided to resign the office in 2007. Piret Noorhani was one of the founders of BAAC. She was elected President in 2005 as the first President of BAAC. She has studied Estonian language and literature at the University of Tartu, Estonia. Worked as researcher and archivist at the Estonian Cultural History Archives of he Estonian Literary Museum from about 1991 to 1996. Since 2007 she has been Estonian Deaspora project manager in the Estonia National Museum and The President of the Baltic Heritage Network since 2008.
Piret Noorhani, Estonia, Juozas Markauskas, Lithuania and Zane Grosa, Latvia have worked hard to improve the standard of the work and international reputation of BAAC during 12 years of business.

HONORARY MEMBERS
”…Honorary member is any person whose great contribution and merit to the advancement of AV archives has been recognized by the Board of the Council, and who is nominated by the general meeting as a recipient of this status…”. Quotation: The bylaw of BAAC, 3.2.3.
In 2009 at the BAAC conference in Vilnius, four dedicated members of BAAC were nominated and elected as Honorary members of BAAC: Lasse Nilsson, Lars-Gunnar Bengtsson, Andris Kesteris and Tedd Urnes.
For those of you who have joined BAAC after 2009, you may ask questions about who are the persons elected as Honorary member?
None of the persons are working or living in any of the Baltic countries. Two of them have Swedish nationality, one is working and living in Canada and one is Norwegian.
A short presentations of the persons mentioned is necessary.
Andris Kesteris
He is a founding member of the BAAC and a member of the Board of BAAC. Andris Kesteris is Canadian. He is President of the Baltic Federation in Canada(BFC). Over a period of ten years he has organized and developed the Baltic Film Festival in Canada, presenting films from Estonia, Latvia and Lithuania to Canadian audiences. He  has a diverse film and broadcasting experience in various divisions of the Library and Archives Canada(LAC- formerly National Library and National Archives). Andris Kesteris is an independent producer/ Director.
Tedd Urnes (formerly Johansen)
He is a founding member of BAAC. Former Head of Film and Videotape Library of the Norwegian Broadcasting Corporation(NRK), former Senior Adviser of NRK. Tedd Urnes was President, Vice-President and Secretary General of FIAT/IFTA. He has chaired the Latin American Regional Working Group(LARG), the Technical Commission and a member of Television Studies Commission of FIAT/IFTA. Consultant at ” Teddview Audiovisual Archival Management (TAAM).

LARS-GUNNAR BENGTSSON
Control room manager and archives coordinator at Newsroom, Swedish Television at the city of Malmø, Sweden. He is a founding member of BAAC. He was member of the Board of BAAC from 2005 to 2010. From 2014 Lars- Gunnar Bengtsson is working freelance.
LASSE NILSSON
Lasse Nilsson is a founding member of BAAC. He been working with SVT archives as archivist, manager of Documentation and Research Department and  project manager. He is a former Secretary General of FIAT/IFTA,  former chair of Programming Commission and a member of FIAT/IFTA Television Studies Commission. Lasse Nilsson is retired from SVT.



 CONCLUSION
The members of  the founding working group of BAAC asked  some crucial questions before the final signing of the official documents of BAAC at the Estonian Embassy in Stockholm in year 2006. An important question asked was: What are the values of the work? A critical evaluation of the ten years of archival business pluss some prehistorian years of the work ,has been done while writing the report. The goals of the work have been evaluated with reference to the Bylaws of BAAC. The result of the evaluation is that BAAC has managed to satisfy the dreams , the hopes and  the ambitions of the founding members .BAAC is proud to have increased professional standards in audiovisual archives situated in the three Baltic countries.Professional contact between members have been stimulated. The challenge for the future is to understand the need for development and education of the different audiovisual archives within the three countries. The founders of BAAC have finished the work. The members who are working in television archives, libraries, radio archives, national archives and document archives in Estonia, Latvia and Lithuania, have to make the programme for the future by scouting for new ideas , technology and tools to improve the work.
Oslo, September 30, 2015
Tedd Urnes































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