1. Ponencia Magistral: Julia Noordegraaf (NL) 
"From Object to Process: Audiovisual Archiving in the Digital Age"
The quick proliferation of digital technologies in the past decades has significantly transformed the production, distribution and consumption of audiovisual media. The development of cheap digital cameras and mobile phones has brought the production of film and video within reach of an unprecedented amount of people. The internet provides the distribution platforms for this do it yourself culture of audiovisual media production, via platforms such as YouTube and Vimeo. And mobile media screens bring these digital moving images within reach of everyone who can afford them – anywhere, anytime. As Rick Prelinger, one of the founders of the Internet Archive, has pointed out, the ubiquity of audiovisual content in the digital age yields expectations of the traditional guardians of audiovisual heritage: film archives, broadcasting archives and media art institutions. Audiences today expect unlimited access, anytime, with the ability to actively engage with the content in the form of downloading, remixing, adding comments and content of their own. In the past decade, then, many audiovisual archives have undertaken efforts to digitize part of their legacy collections, as well as design new strategies for collecting and preserving born digital material for long-term access. This lecture investigates the impact of digitization on audiovisual archiving. Discussing a number of examples from the fields of archiving film, broadcasting and media art, it argues that digitization affects audiovisual archiving on three levels. First, digitization affects the materiality of the object. Examples from the field of film archiving and media art will demonstrate how digitization faces curators and conservators with an ‘object’ that only makes sense if its technical and socio-cultural contexts of production and its lifecycle of use are documented too. Secondly, digitization affects archival practice. In order to preserve the interactive, process-based and versatile nature digital audiovisual productions, archivists and conservators needs to be much more pro-active then before, taking decisions about selection, description and preservation at the moment of production, rather than after distribution. Moreover, the specific nature of digital media necessitates a rethinking of fundamental archival concepts, such as authenticity and provenance. Finally, digitized and born digital content invites new forms of reuse. In order to remain relevant in a connected digital world, archives need to embrace participation by their audiences as a standard element of all aspects of the archival process. 

2. Jon Ippolito (USA) 
"Generation Emulation"
While professionals can claim few systematic approaches to preserving new media culture, a global community of amateurs has kept alive one slice: video games. The overwhelming majority of these amateurs have worked alone without any outside financial or technical support, yet in their hands emulation has proven a powerful weapon in the battle to preserve culture. This talk appraises the success of emulation in amateur and professional conservation efforts.
   
3. Cécile Dazord (FR)
"La conservación de obras audiovisuales, entre respeto de las técnicas de origen y la evolución dictada por la obsolescencia."
La obsolescencia de los formatos, de los soportes y de las máquinas de lectura condujo, desde hace algunos años, a los responsables de las colecciones audiovisuales a llevar a cabo operaciones de digitalización con fines de difusión y de exposición- ver de salvaguarda y de preservación- cuando el documento o la obra no es más accesible o no se puede reactivar en su forma de origen. Sin embargo, en el área artística, el medio, lejos de limitarse a sólo ser un vector, a veces es el objeto de experimentación; y cuando no lo es explícitamente, podemos considerar que no constituye forzosamente un vector neutro, condiciona necesariamente la forma de la obra producida. 
La conservación y restauración de las obras audiovisuales parece atrapada entre una atención necesaria de la técnica en la que la obra fue producida y la obsolescencia que afecta inevitablemente este tipo de objetos.

Google Translate:

"The preservation of audiovisual works, including compliance with technical origin and evolution dictated by obsolescence."
The obsolescence of formats, supports and reading machines led, in recent years, those responsible for audiovisual collections to perform scanning operations for dissemination and exposure-see for safeguarding and preservation - when the document or the work is not accessible or can not be reactivated in their original form. However, in the artistic area, the middle, far from being limited to just being a vector, is sometimes the subject of experimentation; and when it is not explicit, we can consider that not necessarily constitute a neutral vector, necessarily determines the form of the work produced.
The conservation and restoration of audiovisual works seems caught between a necessary care technique in which the work was produced and obsolescence that inevitably affects these objects.