ARANZ School Archives SIG
Managing Archives:
Collection Management & Care,
Audiovisual Archiving
Relevant Online Resources:
Library of Congress
Personal Archiving Day: Archiving Digital Audio
Archiving Digital Audio (15 minute video presentation]
Library staff gave talks about how to preserve specific kinds of information. In this video, Peter Alyea, digital conservation specialist, Preservation Reformatting in the Library of Congress's Music, Broadcasting and Recorded Sound division, offers practical advice on archiving digital audio.
Ray Edmondson (2004)
Audiovisual Archiving: Philosophy and Principles
Published by United Nations Educational, Scientific and Cultural Organization (2004) on the commemoration of the 25th anniversary of the UNESCO Recommendation for the Safeguarding and Preservation of Moving Images.
Chapter titles include (link goes to a 83 page textual pdf document):
1 Introduction
2 Foundations
3 Definitions and terms
4 The Audiovisual Archive
5 Preservation: exploring nature and concept
6 Management principles
7 Ethics
8 Conclusion
See also:
Ray Edmonson's 'Of cabbages and kings: digital reflections in an analogue looking glass'
The National Film and Sound Archive of Australia
Film preservation handbook
The NFSA film preservation handbook covers a wide range of preservation subjects including:
- Film construction
- Base polymers and decomposition
- Gelatin
- Image forming materials
- Damage to films
- Cold storage of film
- Preparation for long term storage
- Occupational health and safety
- Condition reporting
- Film identification and handling
- Film repair
- Conservation treatments
- Photographic duplication
- Disaster planning
Rewinding tapes and cassettes to prevent exposure to damage
Audio and videotape restoration expert, Peter Brothers, tells why it is so important to rewind audio and video cassettes so that what is exposed is the leader at the head of the tape. Often tapes are played at the place where they contain the most interesting and valuable material. Leaving them unwound in that position risks damage to the most valuable area of the tape.
Audio and videotape restoration expert, Peter Brothers, tells why it is so important to rewind audio and video cassettes so that what is exposed is the leader at the head of the tape. Often tapes are played at the place where they contain the most interesting and valuable material. Leaving them unwound in that position risks damage to the most valuable area of the tape.
The National Film and Sound Archive of Australia
Care for audiovisual materials
See also: The NFSA Technical Glossary of common audiovisual terms.
- Caring for audio
- Caring for film
- Caring for video
- Caring for photographs
- First aid for fire damage
- First aid for water damage
See also: The NFSA Technical Glossary of common audiovisual terms.
Library of Congress
Cylinder, Disc and Tape Care in a Nutshell
PrestoCentre
PrestoCentre is a non-profit organisation that serves a community of stakeholders in audiovisual digitisation and digital preservation. PrestoCentre maintains a large online library of technical and other resources.
The Association of Moving Image Archivists (AMIA)
Guidelines, Manuals, Q&As and Fact Sheets
AMIA is a non-profit professional association established to advance the field of moving image archiving by fostering cooperation among individuals and organizations concerned with the acquisition, description, preservation, exhibition and use of moving image materials.
The International Federation of Film Archives (FIAF)
The International Federation of Film Archives (FIAF) brings together institutions dedicated to rescuing films both as cultural heritage and as historical documents.
- FIAF Journal of Film Preservation
- FIAF Cataloguing Rules
- Glossary of Filmographic Terms (English Version - 2008 Revision)
Flemish Government, Department for Culture, Youth, Sport and Media
'Audiovisual Archives in the 21th Century'
'Audiovisual Archives in the 21th Century', Conference held on 13 and 14 October 2010 in Ghent. The digitisation of our society is completely changing the way that the archives of our audiovisual and film heritage are going to have to function. That was made clear at the conference "Audiovisual Archives in the 21th Century", on 13 and 14 October in Ghent. The conference brought together 150 participants from 25 different countries. This link will take you to the AVA21 Conference presentations.
WebM
an open, royalty-free, media file format designed for the web, supported by Mozilla, Opera, Adobe, Google ...
WebM defines the file container structure, video and audio formats. WebM files consist of video streams compressed with the VP8 video codec and audio streams compressed with the Vorbis audio codec. The WebM file structure is based on the Matroska container.
Keepers of the Frame
This is an American documentary covering the need for preserving and restoring our film heritage. The issues of nitrate stock, color fading, safety film, and vitaphone are covered. Featuring interviews with Roddy McDowall, Leonard Maltin, Alan Alda, and many others.
1 hour duration
International Association of Sound and Audiovisual Archives (IASA), Technical Committee
- Guidelines on the Production and Preservation of Digital Audio Objects. This is the web edition of IASA-TC04 (Second Edition, 2009), an accepted authority on digital audio preservation in the sound archiving field.
- The Safeguarding of the Audio Heritage: Ethics, Principles and Preservation Strategy. Edited by Dietrich Schüller. Version 3, 2005 (= Standards, Recommended Practices and Strategies, IASA-TC 03).
Tips on identifying materials for disaster recovery
Audio and videotape restoration expert, Peter Brothers, presents tips on how to identify audio and video tape materials and distinguish them from film. This demonstration shows how reel to reel tapes are identified by their width, how cassettes are labeled by brand and type (3/4" U-matic, Betasp, VHS, Hi-8, etc). How cassettes include information about the length of the tape in minutes on the cassette.
Audio and videotape restoration expert, Peter Brothers, presents tips on how to identify audio and video tape materials and distinguish them from film. This demonstration shows how reel to reel tapes are identified by their width, how cassettes are labeled by brand and type (3/4" U-matic, Betasp, VHS, Hi-8, etc). How cassettes include information about the length of the tape in minutes on the cassette.
South East Asia-Pacific Audiovisual Archive Association (SEAPAVAA)
Basic Manual on Setting-Up an Archive prepared by Ray Edmonson (2002)
Basic Manual on Setting-Up an Archive (59 page word document)
Still a work in progress, this manual aims to provide the region with basic reference material on various areas covering the relevant background information; lay grounds on better issues relevant to the setting-up of AV archives and provide solutions or recommendations specific to the concerns of individual archives depending on their concerns and available resources.
Helen Harrison (1997)
Audiovisual archives: A practical reader
The material in this Reader has been compiled under a UNESCO contract by a
working group of the Round Table on Audiovisual Records - a group of NGOs
comprising IASA, FIAF, FIAT, and the audiovisual sections of ICA and IFLA. P
Section headings include (link goes to a 433 page textual pdf document):
SECTION I INTRODUCTION TO AUDIOVISUAL ARCHIVES
SECTION II COLLECTION: HISTORY, DEVELOPMENT and MANAGEMENT
SECTION III ORAL HISTORY: COLLECTION AND MANAGEMENT
SECTION IV SELECTION AND APPRAISAL
SECTION V DOCUMENTATION AND INFORMATION RETRIEVAL
SECTION VI USE OF COMPUTERS IN AUDIOVISUAL ARCHIVES
SECTION VII STORAGE, HANDLING AND CONSERVATION
SECTION VIII TECHNICAL PRESERVATION
SECTION IX TECHNICAL EQUIPMENT
SECTION X FINANCE
SECTION XI FUTURE TECHNOLOGY
SECTION XII EMERGENCY PREPAREDNESS
SECTION XIII EDUCATION AND TRAINING
IFLA
Audiovisual and Multimedia Section
See also:
- Audiovisual and Multimedia Section Newsletter
- Guidelines for audiovisual and multimedia materials in libraries
See also:
- ICA Photographic & Audiovisual Archives Group Resources, Audiovisual research collections and their preservation
ICCROM SOIMA
International Centre for the Study of the Preservation and Restoration of Cultural Property's Sound and Image Collections Conservation Programme
Case study: Creating a Tape Storage for Hot and Humid Climates
By Shubha Chaudhuri, Archives and Research Centre for Ethnomusicology, American Institute of Indian Studies, New Delhi, India
By Shubha Chaudhuri, Archives and Research Centre for Ethnomusicology, American Institute of Indian Studies, New Delhi, India
- General recommendations from this experience have been applied to many other small institutions. This model is particularly relevant for institutions which have collections of audiovisual media but are not primarily archives and/or do not have the priority or in some cases the means of custom building a storage space.
Film Forever
The Home Film Preservation Guide
HOME STORAGE
8.1 TEMPERATURE & RELATIVE HUMIDITY
8.2 FREEZING YOUR FILM
8.3 THAWING YOUR FROZEN FILM: STAGING
8.4 ALTERNATIVE LOCATIONS FOR STORAGE
8.1 TEMPERATURE & RELATIVE HUMIDITY
8.2 FREEZING YOUR FILM
8.3 THAWING YOUR FROZEN FILM: STAGING
8.4 ALTERNATIVE LOCATIONS FOR STORAGE
Dietrich Schüller (2008)
Audio and video carriers. Recording principles, storage and handling, maintenance of equipment, format and equipment obsolescence
Down-loadable from the ICA Photographic & Audiovisual Archives Group (PAAG) Resources page
- Part 1: Type of carriers, recording principles, composition and life expectancy,
- deterioration by replay
- Part 2: Passive preservation – environmental factors, handling and storage
- Part 3: Maintenance of equipment, obsolescence of formats and equipment
National Library of New Zealand
Preserving sound recordings
Sound recordings may start to deteriorate within a few years if they are not cared for. Here are things you can do to preserve them...
PrestoSpace
Digital Preservation of audiovisual material
Digital Preservation of audiovisual material is a web site for archive owners, academics and the public alike, which provides a first point-of-call for information on the migration and digital preservation of audio/visual works. The site is a repository of the information and experience gained in the PrestoSpace project. You will find information ranging from the tutorial to the academic on planning and executing a digital preservation project and the technologies and processes involved. You will also find training videos, management tools and links to online resources and events in the field of digital preservation.
Council on Library and Information Resources (CLIR) Reports
- Building a National Strategy for Digitally Recorded Sound Preservation of Digitally Recorded Sound - - written by Samuel Brylawski, Recorded Sound Section Motion Picture, Broadcasting and Recorded Sound Division, Library of Congress.
- Capturing Analog Sound for Digital Preservation: Report of a Roundtable Discussion of Best Practices for Transferring Analog Discs and Tapes
Fred R. Byers (2003)
Care and Handling of CDs and DVDs: A Guide for Librarians and Archivists
Care and Handling of CDs and DVDs: A Guide for Librarians and Archivists
This document provides guidance on how to maximize the lifetime and usefulness of optical discs, specifically CD and DVD media, by minimizing chances of information loss caused by environmental influences or physical handling. Discrete topic areas include prevention of premature degradation, prevention of information loss, CD and DVD structure, disc life expectancy, and conditions that affect optical discs. Other issues relevant to the management or maintenance of optical systems are beyond the scope of this document. Excluded, for example, are such topics as care and maintenance of the disc drive device and associated hardware and software; digital rights and related legal questions; and methods of making, sending, and receiving digital copies, including analog-digital conversion procedures.
See also:
The Library of Congress CD-R and DVD-R RW Longevity Research
Kevin Bradley (2006)
Risks Associated with the Use of Recordable CDs and DVDs as Reliable Storage Media in Archival Collections - Strategies and Alternatives
The Memory of the World Sub-Committee on Technology joined forces with the
IASA Technical Committee for the first time in June 2002 by inviting manufacturers
of recordable CDs to the UNESCO headquarters in Paris to discuss the problems
faced by archival users of their products.
This publication does not discourage the use of recordable optical media. It does
explain, however, the complexity of the recording process and the risks associated
with the use of the optical discs as the sole recording media for long-term
preservation.
Link goes to this 31 page textual pdf document
SEAPAVAA, ScreenSound Australia and Kodak
Film Preservation Handbook
- Film Construction
- Base Polymers & Decomposition
- Gelatin
- Image Forming Materials
- Damage to Films
- Cold Storage of Film
- Preparation for Long Term Storage
- Occupational Health & Safety
- Condition Reporting
- Film Identification and Handling
- Film Repair
- Conservation treatments
- Photographic Duplication
- Disaster Planing
- Film Problems
Identifying optical or magnetic Sound
This clip shows the optical sound track on the side of 16mm film and shows the magnetic sound track on super 8mm film.
This clip shows the optical sound track on the side of 16mm film and shows the magnetic sound track on super 8mm film.
Glenn Sage, Portland, Oregon.
Tinfoil.com
- Early Recorded Sounds & Wax Cylinders. Explore early sound recording methods, two-minute wax cylinder records and antique phonographs; see plenty of rare vintage photos; and enjoy listening to early recorded sounds taken directly from the original wax cylinders.
CoOL Conservation
Video Preservation
Audio Preservation
- Standards, Guidelines, and Best Practices
- Bibliographic Resources
- Glossaries and Format Identification Tools
- Digital Video
Audio Preservation
- Collection Assessment
- Formats and Sound Recording History
- Standards, Guidelines, and Best Practices
- Bibliographic Resources
- Digital Audio
Indiana University Digital Library Program
Field Audio Collection Evaluation Tool (FACET)
The Field Audio Collection Evaluation Tool (FACET) is a point-based, open-source software tool that ranks audio field collections based on preservation condition, including the level of deterioration they exhibit and the degree of risk they carry. It assesses the characteristics, preservation problems, and modes of deterioration associated with the following formats: open reel tape (polyester, acetate, paper and PVC bases), analog audio cassettes, DAT (Digital Audio Tape), lacquer discs, aluminum discs, and wire recordings. This tool helps collection managers construct a prioritized list of audio collections by condition and risk, enabling informed selection for preservation.
University of Illinois Library
Audiovisual Self-Assessment Program (AvSAP)
AvSAP (Audiovisual Self-Assessment Program) exists to assist cultural heritage institutions with audiovisual materials in their collections and staff who have little to no training in audiovisual preservation. Our goal is to help collections managers develop a prioritized preservation plan as well as educate them on extending the lives of their collections with the resources at hand. AvSAP is software that will help you identify your audiovisual (AV) collections and prioritize them for future preservation. Priority in preservation is based on several factors, including format type, physical condition, and storage conditions. AvSAP requires no prior knowledge about audiovisual materials and their preservation.
Columbia University Libraries
Survey Instrument for Audio and Moving Image Collections
Survey Instrument for Audio and Moving Image Collections
The survey instrument consists of a Microsoft Access relational database designed for use by librarians and archivists who are not experts in recording media. It is not necessary to be familiar with Access in order to use the instrument, nor is media playback equipment required. The survey provides a mechanism for setting preservation priorities based on (1) quantities and types of audio and moving image materials, (2) the physical condition of the media and their housings based on visual inspection, (3) information about existing levels of intellectual control and intellectual property rights, and (4) the potential research value of each collection. A five-point scale is employed to rank items from high to low in each area.
George Boston (2003)
Survey of Endangered Audiovisual Carriers
Survey conducted by George Boston Secretary, Technical Committee of the International Association of Sound and Audiovisual Archives with assistance from the International Council of Archives on behalf of UNESCO’s Information Society Division. Formats include:
1. Cylinder Recordings
2. Instantaneous (Direct Cut) Discs
3. Shellac (Commercial 78s) Discs
4. Vinyl Discs
5. Metal Discs
6. Acetate Tape
7. Polyester Tape
8. PVC Tape
9. Paper Tapes
10. Compact Audio Cassette
11. Analogue Audio Multitrack
12. Analogue Audio Multitrack Tapes
13. PCM Digital Recordings (Pseudo Video)
14. R-DAT Tape
15. VHS Video Cassettes
16. U-Matic Video Cassettes
17. One Inch Analogue Video Tapes
18. Two Inch Analogue Video Tapes
19. Betacam SP Video Tape
20. Non-Professional Video Tapes
21. Digital Video Tapes
22. Audio Compact Discs
23. Recordable CDs
24. Video Discs
25. DVD Discs
26. Mini Discs
27. Still Photographs
28. Movies
29. Posters
30. Piano Rolls
31. Wire Recordings
32. Computer Data Carriers
Association of Research Libraries,
Preserving Audio Collections
Surveying Sound Recording Collections.
In planning an audio survey, it is crucial to define its purpose. Articulate in writing the questions to be answered by the survey. Be clear about the intended outcome of the survey, what actions may be taken as a result of data gathering and analysis. Delineate the scope of the survey. Is it a collection-level or an item-level survey? Is the survey limited to certain formats, certain parts of the institutions’ holdings, or will it be comprehensive? Will existing preservation masters or listening copies be evaluated, or only original materials?
In planning an audio survey, it is crucial to define its purpose. Articulate in writing the questions to be answered by the survey. Be clear about the intended outcome of the survey, what actions may be taken as a result of data gathering and analysis. Delineate the scope of the survey. Is it a collection-level or an item-level survey? Is the survey limited to certain formats, certain parts of the institutions’ holdings, or will it be comprehensive? Will existing preservation masters or listening copies be evaluated, or only original materials?
The brake on a small gauge video or audio cassette
Pat Shevlin demonstrates the "brake" on an 8mm video tape cassette. The brake operates on a spring and its two wings engage tiny grooves on the outer edge of the reel. Pulling the brake back releases the reels so they will turn.
Pat Shevlin demonstrates the "brake" on an 8mm video tape cassette. The brake operates on a spring and its two wings engage tiny grooves on the outer edge of the reel. Pulling the brake back releases the reels so they will turn.
Conservation Center for Art & Historic Artifacts
Educational Videos: Preserving AV Meida
These online tutorials were developed for curators, librarians, archivists, collections managers and other staff who are involved in managing machine-based media collections in cultural institutions. Viewers will learn basic principles and concepts for managing audiovisual collections and will be provided with information and strategies for preservation, contracting for reformatting, and finding funding opportunities.
These online tutorials were developed for curators, librarians, archivists, collections managers and other staff who are involved in managing machine-based media collections in cultural institutions. Viewers will learn basic principles and concepts for managing audiovisual collections and will be provided with information and strategies for preservation, contracting for reformatting, and finding funding opportunities.
The Library of Congress
National Film Preservation Board
Ken Weissman
Creative COW magazine
The Library of Congress Unlocks The Ultimate Archive System
The Library of Congress is working to preserve film for hundreds, even thousands of years. Seriously. In this article from Creative COW Magazine, Ken Weissman, Supervisor of the Library's Film Preservation Laboratory, tells the steps they're taking toward the ultimate archive system, starting with the restoration of films first printed on paper instead of film!...
The Library of Congress is working to preserve film for hundreds, even thousands of years. Seriously. In this article from Creative COW Magazine, Ken Weissman, Supervisor of the Library's Film Preservation Laboratory, tells the steps they're taking toward the ultimate archive system, starting with the restoration of films first printed on paper instead of film!...
Jeffrey Darlington, Andy Finney and Adrian Pearce
Domesday Redux: The rescue of the BBC Domesday Project videodiscs
Ariadne, July 2003, issue 36
The lesson of this digital preservation project is that if you have enough time, individual skill, dedication and imagination then almost anything is possible, provided that you don't leave it too late... There is of course a great need to preserve other electronic records in a routine and predictable manner, and this rescue project is not a suitable model to be followed in such cases.
Co-ordinating Council of Audiovisual Archives Associations (CCAAA)
CCAAA provides a shared platform for eight membership-based organisations wishing to co-operate on influencing the development of public policy on issues of importance to professional audiovisual archivists. Our members primary business is ensuring the preservation and survival of sound and moving image documents for access and use by present and future generations of citizens.
Association for Recorded Sound Collections (ARSC)
The Association for Recorded Sound Collections (ARSC) is a nonprofit organization dedicated to the preservation and study of sound recordings, in all genres of music and speech, in all formats, and from all periods.
- 2010 ARSC Conference Recordings. ARSC is pleased to make the audio recordings of its annual conference freely available online for the third year in a row.
- The ARSC Newsletter is published three times a year, in June, October, and January.
Indiana University Archives of Traditional Music and Harvard University Archive of World Music
The Sound Directions: Best Practices for Audio Preservation
The Sound Directions: Best Practices for Audio Preservation
Each chapter in this document (other than the first) is divided into two major parts: a preservation overview that summarizes key concepts for collection managers and curators, followed by a section intended for audio engineers, digital librarians, and other technical staff that presents recommended technical practices while summarizing our findings and experience. Collection managers will find many parts of the technical sections useful but, in some cases, may need to engage the audio engineering or digital library communities for assistance in understanding technical topics. Similarly, technical staff may benefit from the broad perspective of the preservation overviews but may want to consult with collection management about the implications of the general principles in these sections for their daily work.
Each chapter in this document (other than the first) is divided into two major parts: a preservation overview that summarizes key concepts for collection managers and curators, followed by a section intended for audio engineers, digital librarians, and other technical staff that presents recommended technical practices while summarizing our findings and experience. Collection managers will find many parts of the technical sections useful but, in some cases, may need to engage the audio engineering or digital library communities for assistance in understanding technical topics. Similarly, technical staff may benefit from the broad perspective of the preservation overviews but may want to consult with collection management about the implications of the general principles in these sections for their daily work.
Institute of Network Cultures (Amsterdam)
Video Vortex project
Video Vortex Reader II is the Institute of Network Cultures’ second collection of texts that critically explore the rapidly changing landscape of online video and its use. With the success of YouTube (’2 billion views per day’) and the rise of other online video sharing platforms, the moving image has become expansively more popular on the Web, significantly contributing to the culture and ecology of the internet and our everyday lives. In response, the Video Vortex project continues to examine critical issues that are emerging around the production and distribution of online video content.
Australian Centre for the Moving Image (ACMI)
The Australian Centre for the Moving Image (ACMI) celebrates, explores and promotes the cultural and creative richness of the moving image in all its forms - film, television and digital culture.
Lumière Reader, The
- The Lumière Reader is an online journal dedicated to film criticism and the arts review, published by a collective of New Zealand writers since 2003.
AXES - Access to Audiovisual Archives [Research Project]
The goal of AXES is to develop tools that provide various types of users with new engaging ways to interact with audiovisual libraries, helping them discover, browse, navigate, search and enrich archives. In particular, apart from a search-oriented scheme, we will explore how suggestions for audiovisual content exploration can be generated via a myriad of information trails crossing the archive. This will be approached from three perspectives (or axes): users, content, and technology.
More than an A/V geek from reesenews on Vimeo.
Intelligent Television
Intelligent Television produces innovative films, television, and online video; conducts research in the future of media; and provides strategic planning and consulting services, all in close association with leading cultural and educational institutions and renowned directors and cinematographers — and all to make educational and cultural material more widely accessible worldwide.
Armand Leroi
THE SONG OF SONGS
In this EdgeVideo, evolutionary biologist Armand Leroi reports on his art/science conversation and collaboration with musician Brian Eno which began when the two sat next to each other an an Edge dinner in London. The dinner discussion began with evolution and music, proceeded to the evolution of music, and led to the following question: has anybody attempted to reconstruct the history of human song? People around the world sing in different ways. Is it possible to retrieve that history. Can we do for songs what we've done for genes, for language?
National Digital Information Infrastructure Preservation Program (NDIIPP) partner project
Preserving Virtual Worlds
The Preserving Virtual Worlds project will explore methods for preserving digital games and interactive fiction. Major activities will include developing basic standards for metadata and content representation and conducting a series of archiving case studies for early video games, electronic literature and Second Life, an interactive multiplayer game.
Project partners are the University of Illinois at Urbana-Champaign (lead), the University of Maryland, Stanford University, Rochester Institute of Technology and Linden Lab. Second Life content participants include Life to the Second Power, Democracy Island and the International Spaceflight Museum. The Preserving Virtual Worlds project is funded by the Preserving Creative America initiative under the National Digital Information Infrastructure Preservation Program (NDIIPP) administered by the Library of Congress.
See also:
Preserving Virtual Worlds Final Report (2010)
Steve Schoenherr
Recording Technology History
Recording Technology History
# Origins
# Cylinder vs. Disc
# New Popular Music
# Electric Era Replaces Acoustic Era...
# Origins
# Cylinder vs. Disc
# New Popular Music
# Electric Era Replaces Acoustic Era...
Earlycinema.com
Earlycinema.com aims to provide an introduction to the first decade of motion pictures and the developments which helped shape cinema as we know it today. The site is by no means a complete account of the development of cinema, and concentrates on the major events in cinema's history encouraging further reading and research.
The Story of the Kelly Gang (1906)
Released in 1906, The Story of the Kelly Gang is the world's first full-length feature film. Filmed outside Melbourne when the Kelly legend was still fresh, it was believed lost for many years. However, a century after it was first shot, the Australian National Film and Sound Archive have re-incorporated 11 minutes of material recently discovered in the United Kingdom. The restoration is now 16 minutes long and includes the key scene of Ned Kelly's last stand.
See also:
Sally Jackson and NFSA Historian Graham Shirley describe the restoration of the landmark The Story of the Kelly Gang (1906).
The Library of Congress
American Memory: Thomas Alva Edison
Inventing Entertainment: The motion pictures and sound recordings of the Edison companies.
Prolific inventor Thomas Alva Edison (1847-1931) has had a profound impact on modern life. In his lifetime, the "Wizard of Menlo Park" patented 1,093 inventions, including the phonograph, the kinetograph (a motion picture camera), and the kinetoscope (a motion picture viewer)...
Prolific inventor Thomas Alva Edison (1847-1931) has had a profound impact on modern life. In his lifetime, the "Wizard of Menlo Park" patented 1,093 inventions, including the phonograph, the kinetograph (a motion picture camera), and the kinetoscope (a motion picture viewer)...
