Preservation of Audiovisual Collections at Albert Ilemobade Library,Federal University of Technology Akure,Ondo State,Nigeria

Abstract

The study investigates audiovisual collections at the Albert Ilemobade Library, The Federal University of Technology Akure, Ondo State, Nigeria. Condition surveying, observation, and interview were the instruments used for data collection. Condition survey was conducted on audiovisual materials in the unit to ascertain their continuing accessibility and usability. The result revealed that most of the audiovisual materials are carrier-based analog format and are inaccessible owing to unavailability and obsolete playback equipment. Technology obsolescence, improper storage environment, lack of funding, lack of commitment by library management, and lack of trained personnel in audiovisual preservation were identified challenges of audiovisual preservation in the library. The study recommends digitization of analog carrier-based audiovisual materials, adequate funding, conducive storage environment, recruitment of preservation expert, and change of attitude to preservation of information materials.

Keywords

audiovisual collections - academic libraries preservation of audiovisual materials collection management - academic libraries digital preservation - academic libraries technological obsolescence - audiovisual materials digitization - academic libraries

Introduction

The importance of audiovisual materials in libraries cannot be over emphasized. Audiovisual materials as documentary heritage objects provide a window to the world as we observe events we cannot attend, we hear voices from past who can no longer speak, and we craft stories that inform and entertain. They help comprehend the world we all share (Obaseki 2021). Access to the past enables us to understand and locate ourselves in the present and gives us the opportunity to inform the future in preserving our shared past, we are preserving the collective memory for future generation (Mnjama 2010). In recognizing the importance of audiovisual to the World and heritage institutions, the United Nations Education and Scientific Organization (UNESCO), in 2005 approved October 27 of every year for commemoration of World Day for Audiovisual heritage.

Audiovisual collections include sound recordings, films and videos, cartridges, electronic resources, three dimensional objects, maps, microforms, and gramophone records. Others include motion pictures, filmstrips, graphic materials, photographs, manuscripts, slides, and other visual works. They exist on a wide variety of carriers, from analog grooved cylinders and disks, analog magnetic tape and metal wire formats, to digital magnetic tapes and optical or magneto-optical disks (Mulauzi et al. 2021).

In academic libraries, audiovisual collections are veritable information resources for teaching, learning, research, and entertainment. They have educational, historical, legal, and administrative values. These make them important for libraries to acquire, process, preserves, and make them available to users. However, like other information resources, AV collections are faced with a lot of challenges which if urgent steps are not taken, their access and usage may be impossible. These include natural aging, technological obsolescence, media fragility, unfavorable environmental conditions, pests, inherent chemical composition, and handling and frequency of use. Since many of the audiovisual collections are recorded on analog platform the major challenge is technology obsolescence with superseded technology such as playback equipment becoming obsolete with spare parts and accessories not available in the market.

To prevent loss, damage, provide continuing access and create user-friendly atmosphere for these information resources, urgent and concerted efforts are necessary to reformat, convert, and transfer them to digital platform. This can be achieved through digitization and digital preservation. Digitization, apart from making it possible to convert, transfer, and continually migrate the collections to new electronic media, it will make their accessibility possible through internet, online, and social media platforms such as Instagram and YouTube.

Taking cognizance of the challenges facing these information resources, government institutions and organizations are making efforts to reformat and migrate them to new media. However, the situation in academic libraries is different. In Nigeria, attitude of university libraries to preservation of audiovisual collection is similar to what was reported in Canada where factors like; financial constraints, obsolescence of equipment, limited training opportunity, lack of strong back-up systems, and lack of political will were the major problems (Jackson 2001). As reported by researchers in Africa, other inertia include lack of policy framework, inadequate funding, lack of skilled personnel with the requisite technical skills, and lack of institutional support for digital preservation. This study was designed to examine the state of audiovisual collection and preservation strategies at the Albert Ilemobade Library, The Federal University of Technology Akure.

Multimedia Unit (Formerly, Educational Technology Center), Albert Ilemobade Library

The Unit was established in 1982 along other units in the library. The unit is responsible for acquisition and provision of audiovisual instructional materials to support teaching, learning, and research in the University. In other words, the Unit is to acquire and provide access to educational and instructional audiovisual materials on different courses and programs offered in the university. The unit is also saddled with the responsibility of production, processing, storage, dissemination, and preservation of all internally generated audiovisual collections in the University. These include coverage and production of materials on events and programs of the University such as inaugural lectures, foundation day lectures, schools’ lectures, convocation programs, trainings workshops and seminars, and other programs of the University. Materials in the unit include: reel-to-reel, filmstrips, slides, transparencies, motion pictures, microforms, realia, audio and video cassettes (VHS), their projecting and playback machines.

Literature Review

Audiovisual materials are critical components of library and archives collection as they are veritable instruction materials for teaching, learning, and research. However, literature is replete with the challenges of preservation of audiovisual resources in libraries and why urgent steps should be taken to prevent their loss. It will be a waste of resources if after institution have devoted a considerable sums of money in acquiring and processing the collections, and they remain inaccessible to scholars and other bona fide users (Mnjama 2010). Conserving the heritage and ensuring it remain accessible to the public and future generation is a vital goal for all memory institutions as well as the public at large (Obaseki 2021).

Much of the world’s audiovisual heritage has been irrevocably lost through neglect, destruction, decay and the lack of resources, skills, and structures, impoverishing the memory of mankind. Much more will be lost if stronger and concerted international action is lacking (Ranft n.d.). Because thousands of sound documents are loss everyday as a result of the fragility and deterioration of recording supports and obsolescence of analog recording and playback equipment, the preservation of the sound archives is at critical point in its history (Resendiz 2014). According to the Smithsonlan Institution’s Audiovisual Preservation Assessment, 2019 Final Report, at current rate of preservation, 188, 890 audiovisual collections surveyed items will be unpreserved by the year 2034 and face total loss. The report of survey of preservation of audiovisual collections in three institutions in Philippine confirmed the poor attitude of institutions to preservation of AV as there was no written preservation policies, they simply follow the common rule-of-thumb preservation procedures (Abrigo and Abrigo). In Africa, academic libraries are running a risk of losing vital digital information due to technology obsolescence, lack of policies and procedures, inadequate resources, and fragile storage media (Masenya and Ngulube 2020). It is necessary to identify and discuss challenges of Audiovisual collections preservation. These include; inherent chemical composition; technology obsolescence; media fragility; environmental factor; frequency of use and handling.

Chemical Composition

The inherent chemical component with which the audiovisual collections are manufactured had been identified as a major factor of deterioration. For instance, magnetic tapes (audio and video recordings on cassettes, audio and computer reel-to-reel tape, computer diskettes) are most commonly made of a magnetic layer of chromium or iron oxide bond with an adhesive onto a polyester film base. The adhesive binder is susceptible to deterioration through hydrolysis and oxidation which result in sticky-shed syndrome. This involves shedding of the oxide coating of the tape during playback, leading to clogging of the playback head and resultant loss of signal. The decay process causes the plastic film base to become acidic, to shrink, and give of characteristic vinegar odor of acetic acid (Alegbeleye 1996; Iraci 2020; Schuller 2011).

Studies have been conducted on the deterioration of audiovisual materials through inherent chemical composition. At Manitoba university library, one half of the audiotapes (44 percent) were on acetate based and many of them tested positive for vinegar syndrome from level 0.5 to level 1.5 (Dalley 2004). Another testing at the Kenneth Dike library revealed that all material tested has been afflicted by Vinegar syndrome and had been removed from circulation. In addition, 90 percent of the rolls of films in the collections of the National Archives of Nigeria exhibited symptoms of vinegar syndrome and no longer usable since appropriate steps had not been taken to recopy or reformat the contents (Alegbeleye 1996).

Technological Obsolescence

The key factor in audiovisual preservation is the instability in technology which makes technology frequently becoming obsolete. As at 2016, it is widely accepted within global audiovisual archival community that we have between ten and fifteen years to digitally preserve all carrier-based audiovisual content held on magnetic media. For instance, the useable life expectancy of cassette tapes’ is very short, magnetic tape has a much shorter lifespan, magnetic tape that is over fifteen years old needs careful attention, and most tapes over twenty years old need professional help. Within the last twenty years, 8-track tapes, beta format video ½ inch videotapes, 3-inch, 3/4 inch, and 8 inch computer diskettes and countless other formats have become obsolete (Adcock 2004). Retrieval of information from magnetic-based formats such as MII video is already practically impossible (Prentice and Gaustad 2017). A study of audiovisual collection at the National Diet Library, Tokyo in 2011, revealed that, the playback equipment of the materials except Filmons and Open-Reel Tapes were available in the market, but recently playback equipment for Filmons has disappear from marketplace. For Open-Reel Tapes, only one manufacturer of the playback equipment remains in the market, and its products does not support all of the recording formats (Okahashi 2011).

A study on sustainability of digital preservation in academic libraries in South Africa revealed that some digitized materials have been lost while some remain inaccessible due to the original software being outdated and incompatible with modern operating systems (Masenya and Ngulube 2020). Also, in Namibian National Archives, one of the major challenges facing preservation of audiovisual heritage is technological obsolescence (constant change in technology) (Lukileni-IIpinge and Mnjama 2017).

Media Fragility

Most of the audiovisual collections are fragile and can easily be destroyed if not carefully handled. There are many things that can go wrong with audio and videotapes/cassettes which can prevent completely playback or in the worse case result in catastrophic failure (Adjei 2005). For instance, the narrower, thinner tape used in audiocassettes especially the 90 and 120 minutes cassettes can break, jam, or experience print through and dropout (Dalley 2004).

Environmental Conditions

Since most AV materials are hygroscopic, they expand and contract when reacting to unfavorable environmental conditions. Audiovisual materials are sensitive and reactive to environmental conditions especially temperature, relative humidity, light and ultra violet radiation, dust and dirt etc. In tropical countries, audiovisual data carriers often have greatly reduced life expectancies (Schuller 2011). Motion picture films consist of silver particles or color dyes that are extremely sensitive to heat and humidity. Also, high levels of relative humidity support fungus growth, which can react with the surfaces of audiovisual carriers, especially with magnetic layers of tapes. In the replay process, it accumulates on the replay heads of audio and video machines, causing clogging and disturbing, hindering the replay process. In the severe cases, fungus can destroy the magnetic layers (Schuller 2011). If tapes are exposed to pests, it is possible that the contaminants, such as droppings and urine, may be left behind. Also, there may be a certain amount of gnawing damage on the tape, cassette shell, or storage container, resulting in significant amount of debris (Iraci 2020). A study of storage conditions of audiovisual collections at Ghana libraries revealed that the collections are at the mercy of fluctuating temperature and relative humidity. Environmental monitoring facilities such as air conditioners, hygrothermographs, and air filter devices were absent (Akussah 1994). Maintenance of storage conditions should involves monitoring temperature and humidity over time and analyzing the data, in terms of impact on the materials (Somes 2012).

Frequency of Use and Handling

Audio materials are particularly vulnerable to damage caused by poor handling, by badly maintained or manufacturing equipment, or sub optional storage. Films such as polyester-based, cellulose nitrate, and cellulose acetate require special handling. All three film types, and the gelatin binder on them, can be scratched, abraded, and creased. Oil and dirt from hands can also damage the support and binder, as well as the final image materials shellac, disks, vinyl disks (Dalley 2004). The frequency of servicing the materials to students can cause damage, mechanical stress for bit, the tape itself and its playback machine, causing the material, the machine, and its accessories (e.g., video tape rewinder) to break down (Abrigo and Abrigo 2010).

Condition Survey

It is important for libraries to know the state and conditions of information materials in their stock. This can only be attained through periodic condition surveying of collections. This will assist to determine the degree and level of deterioration and preservation strategies required. Physical inspection includes a more or less automated or manual evaluation of tapes to examine such imperfections as wrinkles, scratches, cracking, creases, shrinkage, and uneven wind. Physical inspection would need to be arranged by archives with a view to identifying an isolating collection which need reformatting, copying, or restoration (Adjei 2005).

In many libraries, this important component of preservation of information resources is not given enough attention. For instance, at the National Diet Library, Tokyo, it was reported that comprehensive condition survey such as tape rewinding and other regular checkups, have not been carried out for many years. However, in 2005, when the survey was carried out on oral history collections, it was found that the tape medium was deteriorating and the sound quality of the collections had degraded and it was a matter of time for the collections to become unavailable for services which prompted the library to work on the analog to digital conversion of the collections (Okahashi 2011). The same scenario occurred at the Balme Library, University of Ghana, where it was revealed that except for reference purposes (limited to only the processed films), the microcopies are not screened periodically as a routine to ascertain their state. However, when a sample of the 35 mm microfilms were screened, some were found out to be having water, marks spots and scratches due to unconducive storage environment and use (Akussah 1994).

Reformatting and Conversion of Analog to Digital Platform

Professionals in the field of library, archives, and information science have agreed that, the only option available for preservation and providing future access to audiovisual materials is the continuing conversion and migration to new format. Since the field of digital audiovisual preservation and digital audiovisual formats is dynamic, there is need for monitoring developments and altering policies and procedures where and when necessary (Somes 2012). Suggestion had been made that, any decision regarding digital preservation should include technological flexibility (Resendiz 2014). It was opined that when the playback equipment for materials is no longer available in the market and others might be at the risk of being obsolete soon, it will be necessary to keep the availability of their contents over the long term by converting them to digital recording media (Okahashi 2011). To ensure access to information, copy older formats onto a stable technology while playback machines remain available (Adcock 2004).

The transfer of analog content to digital platforms is the only way to guarantee the survival of sound heritage. The solutions that quite address the technical problem is to migrate whatever must be preserved from one file format to another (Dalley 2004). It is now widely accepted that digitization is not only a reliable audio preservation strategy, but the only one in the long term, given the rapid pace of technological change and the conversion to digital systems throughout the audio industry (Ranft n.d.). The change entails the creation of digital mass storage and management systems, and the extension of access, dissemination, and reuse of sound documents (Resendiz 2014). Digitization has been identified as one of the most appropriate ways of preserving and storing audiovisual contents, with the format open limitless opportunities for publishing and broadcasting in digital media, which is easily relatable among youths in the technology age (Obaseki 2021).

Historically, in 1992, Germany was the first country to transfer all the audiovisual documents (videographies, filmographies, and phonographies and other audio documents) from analog platform to digital platform (Resendiz 2014). In 2006, in order to avert the loss of audiovisual archive at the National Diet Library, Tokyo, the contents of 113 Open-Reel Tapes was converted to digital files. The digital files were later stored on eighty-two CD-Rs for preservation. Additional fifty-four Open-Reel Tapes were converted onto seventy-nine CD-Rs and are kept as preservation copies the following year (Okahashi 2011).

Digital files are also subject to deterioration and loss, which poses another challenge. This can only be addressed though a well planned digital preservation. Digital preservation is defined as a combination of policies, strategies, and actions to ensure the accurate rendering of authenticated content over time, regardless of the challenges of media failure and technological change. Digital preservation applies to both born digital and reformatted content (Delaney and De Jong 2015). Digital preservation, consisting of digital life-cycle management processes, spans an archive’s operations: acquisition, ingest, metadata creation, storage, preservation management, and access. Everyone, from producers to collection managers to end-users shares responsibility in the preservation chain. Digital preservation ensures access to and future use of digital document created in the present or the past, on the basis of information conservation and security that ensure long-term maintenance and use (Termens in Resendiz 2014).

In their digitization and digital preservation efforts, heritage institutions are confronted with a lot of challenges. A series of challenges, including technological obsolescence, ongoing migration, technological breakdowns, human error, and social, economic, and political continuity, natural disasters, and lack of metadata (Resendiz 2014). Lack of trained and experienced staff, the lack of awareness of digital preservation, poor technological infrastructure, and inadequate resources for preservation practices, lack of policies, standards, and procedures to regulate the creation, storage, retrieval, and preservation of digital information resources, and poor collaboration efforts and partnerships were identified as the problems confronting organizations in Africa (Masenya and Ngulube 2020; Rakemane and Mosweu 2020). Report of a study on audiovisual preservation in Ghana revealed that lack of proper record keeping, lack of adequate organization (collections are not accessioned, classified, or catalogued), inadequate packaging and storage, lack of proper preservation procedures, and malfunctioning of equipment and finance were the major constraints of audiovisual preservation (Akussah 1994; Mensah, Adjei, and Adams 2017). In Eastern and Southern African region, the major challenge is lack of expertise in preservation of film and sound archives (Lukileni-IIpinge and Mnjama 2017).

Cost of conversion and migration to digital platform is another challenge to libraries in Africa. Although libraries can take steps to prevent damage to their collections and the rate at which they deteriorate, few institutions can afford the labor-intensive and costly process of preserving their collections. For instance, in Botswana, only 28.6 percent of organizations had a program for the digitization of audiovisual materials (Mnjama 2010).

Methodology

Condition survey and interview were the major instruments used for the study. Condition survey was conducted on the audiovisual collections to determine their state. In order to achieve this, two methods were adopted, physical inspection and mechanical testing. Visual examination was conducted by checking the videocassettes for signs of physical and chemical damage, deterioration or degradation especially effect of vinegar syndrome, sticky shed syndrome, and contaminants. The materials were also examined for other physical defects such as scratches, cracking, creases, grime, and shrinkage for their suitability for play and replay as well as mechanical strength. Physical examination was also conducted to determine the care, storage, and environmental conditions which include: temperature and relative humidity, dust level, and exposure to light. The second method was the testing of the videocassettes (VHS) by playing them with video player machine. This was done to identify the cassettes that are still in good condition. The choice of VHS was due to the fact that it constituted the bulk of the active audiovisual collections in the Unit. Also, it was the only audiovisual material with functioning playback equipment. In addition, most of the historical and archival activities of the university were recorded on it.

To get more information about the unit and the preservation strategies adopted by the University Library, interviews were conducted with the University Librarians and Head of the Unit. The interviews were conducted to determine how the materials are acquired, processed, kept, and efforts made to preserve them. The interviews were also conducted to find out the challenges facing them in their efforts to preserve and make the materials available for continuing access and use. In all, two sessions of interview were held; the first was with the University Librarian, which lasted for two hours, while two hours thirteen minutes was spent on the conduct of the second interview with the Head of the Unit. The two interviews were held in February, 2022. To achieve this, interview schedules were prepared for both interviewees.

Results

Examination of the materials in the Unit showed that, over the years the unit had acquired, processed, and made available for use, audiovisual materials which are majorly educational and instructional like filmstrips, motion picture, slides, transparencies, reel-to-reel, microforms, and other materials covering different programs of the university. However, majority of the collections were internally generated through university activities and programs. These include inaugural lectures series, school lectures, foundation day lectures, convocation speeches, and other programs. They are important to the university because of their research and historical value.

Physical examination of the materials in the Unit was conducted. The result showed that, generally, almost all the collections and their playback machines/equipment (reel-to-reel machine, overhead projectors, slide projectors, microfilm readers) had become obsolete and not functional. The only playback machine that was functioning was video cassette (VHS) player. Also, out of the three VHS players in the section, only one was functioning. The reel-to-reel tapes were seriously affected by vinegar syndrome and prevented them from being played. This had made their contents inaccessible.

Further investigation revealed that the collections were stored under improper storage conditions and are prone to effect of temperature, relative humidity, dusts and dirt, and sunlight. Materials stored under these conditions are not safe from mechanical and chemical degradation and deterioration such as vinegar syndrome and sticky shed syndrome. This was similar to the report on the treatment of audiovisual collections in Ghana where the materials were stored under bad conditions (Akussah 1994).

The study also revealed that there was lack of records and proper documentation of materials in the unit. Records and documentation about the audiovisual materials were not available, unlike the print materials that had catalog and shelf list, there was lack of retrieval tools for the audiovisual collections, which made it difficult to know the number of audiovisual materials in their stock and their frequency of consultation.

Further inquiry showed that there was lack of qualified manpower with requisite skills in the audiovisual unit. There were no preservation specialists, though the unit was headed by a staff with a university degree in electronic Engineering, the other two staff were photographers with little or no knowledge about preservation of the materials. They had inadequate training, knowledge and technical skills in acquisition, processing, documentation, and digitization of audiovisual materials.

It was also revealed during observation that the collections and by extension, the Unit was underutilized as there was low patronage. Though, there was no statistics about attendance and use of materials in the Unit, the situation in the unit indicated that the frequency of consultation of collections was very low.

Mechanical Test of VHS Cassettes

To determine the state of the VHS cassettes that form the bulk of the active collection, mechanical testing was carried out on the video cassettes. There are over two thousand VHS cassettes in the unit, out of which five hundred (500) were selected and examined. The results indicate that 473 (94.6 percent) of the cassettes were in good condition, and 37 (7.4 percent) cassette were not playing at all. Also, 470 (94 percent) of the cassettes were affected by dirt, and 23 (4.6 percent) were tracking and needed urgent attention. Some of the VHS cassette had degraded and affected by vinegar syndrome, 30 (6 percent) had developed sticky shed syndrome owing to the environmental conditions (see Appendix).

Interviews With University Librarian and Head of the Unit

During the interview with the University Librarian and Head of the Unit, it was established that the materials were important to library and the University. They further stated that most of the materials had become obsolete as a result of superseded technologies and needed to be transferred to new media.

In their response to question on preservation of the resources in the Unit, the interviewees said, the University library had made efforts to reformat the collections and convert them to new media through digitization but their efforts had not yielded desired results as a result lack of cooperation and necessary support from the University management. They cited inadequate funding as the major constraint. According to them, request for special allocation for acquisition, maintenance, and reformatting or transfer of the collections to new platform were not considered.

Question was asked on the efforts of the library management to solicit external funding like grant proposal and collaboration with local and international organization to digitize the collection. The University Librarian responded that no effort had been made in soliciting external assistance for the project. However, he informed the researchers that local organizations that can assist the library to digitize the materials are not available in the country.

Discussion of Findings

There are some inferences that can be made from the results of the study which can assist in arriving at some conclusion. The study has revealed that there were serious threats to the audiovisual collections in the university library. Most of the audiovisual collections are analog carrier-based technology and are no longer accessible due to technological obsolescence, the playback machines had become obsolete and tapes had degraded and contents inaccessible. Similar situation was reported in Ghana where most tapes are on obsolete media formats, machines are unplayable, and obsolete machines cannot be found in the vendor shops any more (Mensah, Adjei, and Adams 2017). The situation could be attributed to lack of commitment by the library management when necessary action to prevent the loss of materials by transferring them to new media was not taking at the right time.

The panacea to technology obsolescence is to convert the materials presently on analog to digital format. There is need for transfer of analog content to digital platforms, the only way to guarantee the survival of the collection (Dalley 2004). Digitization is not only a reliable audio preservation strategy, but the only one in the long term, given the rapid pace of technological change and the conversion to digital systems throughout the audio industry (Ranft n.d.). However, this requires adequate funding and personnel with necessary experience and expertise which was not available in the university library.

The library lacked qualified personnel with expertise in audiovisual management, if the library makes it a priority, digitization of the collections can be outsourced to a company. However, this is subject to necessary support and cooperation of major stakeholders especially the university management who will provide the necessary financial resources. Outsourcing also depends on availability of competent company that can execute the project. It was reported that companies to perform it are not available and when and where available, the cost is too expensive for library to finance. Although libraries can take steps to prevent damage to their collections and the rate at which they deteriorate, few institutions can afford the labor-intensive and costly process of preserving their collections. Similar study in Botswana revealed that only 28.6 percent of organizations had a program for the digitization of audiovisual materials (Mnjama 2010).

Another issue is the storage environment under which the materials were stored which had negatively affected the collections. What can be deduced from this is that there was poor attitude and commitment of the University library management to audiovisual collections in their custody. This attitude is prominent among libraries and archives in Africa as reported by researchers (Akussah 1994; Mensah, Adjei, and Adams 2017). There is need for change of attitude and orientation to preservation of not only audiovisual collections but all materials in the library. Also, a well coordinated and properly planned environmental monitoring and good housekeeping that regulate the temperature and relative humidity, sunlight, dust and dirt in the library will provide conducive environment for audiovisual collections.

The issue of low patronage of the collections in the unit is of great concern. This may be attributed to the obsolete collections and lack of subscription to new materials on various programs of the university. The Unit can be made more relevant by acquisitions of digital collections which can be accessed and used with modern technologies.

Conclusion and Recommendations

Audiovisual materials in the university library are important instructional materials and as they contain records of the activities of the university. They have educational, historical, research, legal, administrative, and entertainment values. Examination of the collections revealed that the collections are confronted with challenges that if urgent actions are not taken may lead to catastrophic loss. However, evidence from the study showed that there was little effort to prevent the collections from impending loss and inaccessibility. In order to salvage the situation, the following recommendations are imperative:

The present attitude and commitment of University library management to preservation of audiovisual collections is not encouraging. Consequently, there is need for change of attitude; the library management should wake up to its responsibility of preserving the audiovisual materials especially through a policy framework and allocation of resources for acquisition of facilities and equipment for processing, storage, documentation, and preservation of all audiovisual materials in its custody.

Urgent steps should be taken to digitize all the materials that are still in good conditions to prevent their loss while all obsolete audiovisual collections that had degraded and inaccessible owing to technology obsolescence should be urgently removed.

There is need for recruitment of qualified media specialist with requisite technical skills who can continually migrate the resources to new media platform

There is need for capacity building for existing staff through training and retraining on digital preservation

New collection should be added to the existing ones covering all the programs of the university, this will attract more users to the unit and assist stakeholders to pay more attention to the Unit.

The frequency in technological change is not friendly to heritage institutions as many valuable information resources have been lost to technology obsolescence and other factors. Revelations from the study has provoked fundamental issues which demand dynamism and adaptation from managers of libraries to urgently migrate their resources to emerging platform, failure of which they will become inaccessible.

Footnotes

Appendix

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

ORCID iDs

Oluwole Ejiwoye Rasaki

Akeem Adedayo Adedimeji

Author Biographies

Oluwole Ejiwoye Rasaki is a Principal Librarian at The Federal University of Technology Akure, Ondo State, Nigeria. He holds PhD in Library and Information Studies from the University of Ibadan, Nigeria. His research focus include preservation and conservation of information resources and knowledge management.

Dr. Adeola Oyebisi Egbedokun is an Associate Professor in the Department of Educational Technology, Obafemi Awolowo University, Ile-Ife, Nigeria. He is an Instructional Design expert with speciality in e-Learning Design and Technologies.

Akeem Adedayo Adedimeji is an Audiovisual Principal Technologist and Current Head, Multimedia Unit of Educational Technology Centre, University Library, Federal University of Technology Akure, Nigeria. He holds Bachelor of Technology in Electronic and Electrical Engineering. His research areas include computer assisted instruction, signal and image processing, preservation of audiovisual resources.

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