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Collection Survey

Collection Survey

Tokyo studio of Iimura Takahiko. Photo: Ann Adachi-Tasch.

Tokyo studio of Iimura Takahiko. Photo: Ann Adachi-Tasch.



By extracting uniform metadata sets and implementing shared vocabularies, CCJ aims to collect thorough information about the works of Japanese experimental moving image artists, and help build an infrastructure that allows sharing of that knowledge. Points of consideration are vocabulary standardization, bilingual (Japanese and English) database interface, and open sourced database technology. 


Assessment of the preservation condition of works allows the collection holder to understand the degree of vulnerability of their assets and strategically plan preservation projects based on their priorities and available resources. In some cases, CCJ may assist in fundraising for preservation projects in order to meet the collection holders' goals. 


Project 1: November 2016

Collection survey: Iimura TAkahiko

Collection Survey at artist Iimura Takahiko's Tokyo Studio with Mona Jimenez (right) and Laurie Duke (middle). November, 2016.

Collection Survey at artist Iimura Takahiko's Tokyo Studio with Mona Jimenez (right) and Laurie Duke (middle). November, 2016.

Below is a brief introduction of the Collection Survey conducted at artist Iimura Takahiko's studio in Tokyo in November 2016. For full report, please contact CCJ, with your reason for the request. 


A collection survey of the work of Takahiko Iimura was conducted November 23–25, 2016, by Ann Adachi, Laurie Duke, and Mona Jimenez, with assistance from the artist and his assistants, Rie Iwashima and Mina Iwashima. The goal of the survey was to locate and assess the highest quality version of the artist’s works. A spreadsheet titled “CCJ Iimura Collection Survey” was created (“2016_CCJ_Collection_Survey _Iimura”) to collect metadata during the survey.

Particular attention was paid to film materials and obsolete video formats such as U- matic (3/4-inch tape), Hi8, and Betacam. However, a count of all audiovisual items was accomplished, and some changes in arrangement were made to facilitate further work to identify the highest quality versions of Iimura’s work. The survey was restricted to video and film; we did not survey any other media (such as optical disks or hard drives).


Discussions with the artist revealed his working methods and the organization and arrangement of his collection. Generally speaking, the materials were stored by format. The U-matic tapes were stored roughly chronologically. We respected his arrangement but re-ordered the tapes and in some cases re-shelved them as described below to better understand the collection and to make it easier to locate and compare various versions of artworks and related materials.


There are 1,368 items in the collection. 172 are film, 1,182 are video, and 14 are audio.

16mm – 156 / Super8 – 6 / 8mm – 19 / U-Matic – 117 / Betamax – 2 / VHS/SVHS – 279 / VHS-C – 69  /Betacam – 353
Video8 – 32 / Hi8 – 77 / Mini-DV – 204 / DVCAM – 47 / D1 – 1 / HDCAM - 1


Section 1: The Collection Survey--Overview, Introduction, Methodology
Section 2: Collection Analysis--Overall Condition; Formats, Format Detail
Section 3: Mastering Format of Titles in Collection--Representation of Titles in Collection
Section 4: Risks--Obsolescence, Deterioration, and Other Issues; Information on the Generation: Which One is the Superior Master?
Section 5: Recommendations--Environment, Care & Handling, File Storage; Checking Against Currently Available Digital Files; File Storage Intellectual Control & Metadata


Interviews with the artist about specific works were conducted during the research. Transcriptions of the interviews forthcoming. 

The 2016 Collection Survey was supported by the Japan-U.S. Friendship Commission.