Ziherl, Jerica

6. SEEDI Zagreb, 18. – 20. V. 2011.

Jerica Ziherl Muzej moderne i suvremene umjetnosti Rijeka

DCA is co-funded by the CIP-ICT Policy Support Programme of the European Union

DCA is co-funded by the CIP-ICT Policy Support Programme of the European Union

DCA PROJEKT UKRATKO

Digitising Contemporary Art (DCA) Digitalizacija suvremene umjetnosti za unos u portal Europeana

• 1. siječanj 2011. – 30. lipanj 2013. • 3,947,286.00 Euro • 50% sufinancirano od EU: CIP-ICT Policy Support Programme

KONZORCIJ 25 partnera iz 12 zemalja 21 umjetnička institucija

Kick-off meeting, Brussels (25. siječanj 2011.)

PARTNERI Koordinator PACKED vzw – Centre for Expertise in Digital Heritage (Belgium) Tehnički partneri IBBT – Interdisciplinary Institute for Broadband Technology (Belgium) NTUA – National Technical University of Athens (Greece) UBITECH (Greece)

Kick-off meeting, Brussels (24. siječanj 2011.)

Coordinator

EC Project Officer

PMB

Steering Group

DCA Project Office

PLENARY

TMG

THE DCA CONSORTIUM

02 IBBT INTERDISCIPLINARY INSTITUTE FOR BROADBAND TECHNOLOGY • • •

IBBT-MMLab is a Flemish Research Institute specialised in Multimedia Intelligence IBBT was founded in 2004, UGhent-MMLab in 2001 Size of our organisation: IBBT: +600 researchers, UGhent-MMLab: 30 researchers (15 PhD Candidates, 15 project members)

Scope of Activities: • • • • • •

Video coding and compression Image/video processing and analysis Multimedia content adaptation Metadata technology Gaming technology Standardisation in the domain of multimedia applications and systems

Role in the DCA project: • •

Technical partner and expert with strong involvement in WP 2 (assessment of technical standards) and WP 5 (LOD publishing, deliver a POC etc.) WP 3 Leader and member of Technical Management Group (TMG)

12 NIMK Netherlands Media Art Institute • • • • •

National institute to promote the wide development, application and distribution of and reflection on new technologies in the visual arts Not for profit organisation founded in 1978 One of the main media art collections and archives in Europe Knowledge institute for long term access of media art presenting, researching and distributing media art >2 000 media artworks in distribution, 3 000 in documentation, 1 000 in archive

Scope of Activities: •

Participation in numerous international networks and projects – among others International Network for the Conservation of Contemporary Art (INCCA), Cultural Coalition Digital Sustainability (CCDD), Inside Installations and GAMA - gateway to archives of media art.

Role in the DCA Project: • •

Content provider: 575 video artworks will be digitised WP 6 Leader (Long-term sustainability)

11 SERRALVES FUNDAÇÃO DE SERRALVES • • •

•

a cultural institution located in the city of Oporto, Portugal (Serralves Villa, Park, Museum of Contemporary Art, Auditorium and Library ) Foundation itself was created in 1989, and the Museum opened its doors to the public on 1999 one of Portugal’s most renowned cultural institutions and the leading body of its kind in the North of Portugal. It has conducted a great effort in order to project contemporary art at the national and international levels and divulge its notable architectural and landscape heritage a collection of 3,541 art works; visitors in 2009: 403,657

Scope of Activities: •

exhibitions, screenings, archives

Role in the DCA project

 content provider  number of works/objects to be digitised: 900

14 AE Ars Electronica • •

is an internationally unique platform for digital art and media culture. Since 1979 Ars Electronica dedicates itself to the multilayered changes and reciprocal effects between art, technology and society. Ars Electronica Archive (since 2008) – documentation audio, video, print and photo material from 1979 to now. Prix submissions: approx. 40,000 projects since 1987

Scope of work: • • • • •

Museum – Ars Electronica Center (2009: 230,000 visitors) Festival – Ars Electronica Festival (2009: 72,500 visitors) Competition - Prix Ars Electronica (2009: 3,017 submissions) Ars Electronica International (world-wide exhibitions) Media art lab – Future Lab

Role in the DCA project: •

content provider

•

2,600 works and documents to be digitised

Ars Electronica Center 2009, Linz, Austria

15 MRBAB-KMSKB Royal Museums of Fine Arts of Belgium • • •

5 museums: Museum of Ancient Art (XV – XVII century), Museum of Modern Art (XIX – XX – XXI century), Wiertz Museum, Meunier Museum, Musée Magritte Museum Founded in 1835 Collection of around 22,000 works of art

Scope of Activities: •

Permanent collection, temporary exhibitions, research projects, documentation (library, Archive of Contemporary Art in Belgium)

Role in the DCA project: • •

content provider and WP-Leader 4 (supervision digitisation) 5,960 works to be digitised

Work packages WP (radne jedinice) WP1: Projektni menadžment WP2: Koordinacija partnera i tehničkih specifikacija digitalnih zbirki WP3: Definiranje metapodataka za digitalizaciju / arhiviranje suvremene umjetnosti WP4: Digitalizacija WP5: Pripreme za prilagodbu i unos sadržaja WP6: Dugotrajno očuvanje (upute za dugotrajnu konzervaciju digitalnih podataka) WP7: Informiranje - PR

DCA WORK FLOW

DCA – UMJETNIČKI KONTEKST

umjetnost nakon 1945. slikarstvo, skulptura, fotografija, instalacija, video, crtež, grafika, kolaži, umjetničke knjige itd. kontekstualni dokumenti europski umjetnici

Ciljevi

• Pronaći najbolje načine za digitalizaciju i metapodatke za različite kontekste [WP2+3] • Digitalizacija 27 000 suvremenih umjetničkih djela i 2000 kontekstualnih dokumenata [WP4] • Skupljanje i prilagođavanje digitaliziranih reprodukcija za unošenje u Europeanu [WP5] • Određivanje strategija dugotrajne konzervacije [WP6] • Informiranje javnosti o rezultatima projekta [WP7] • Postizanje rezultata projekta putem podrške i efektivnog vođenja (menadžment) [WP1]

Glavni interesi

Tehničke specifikacije

izdašni metapodaci digitalne reprodukcije visoke kvalitete mogućnost implementacije dugotrajna konzervacija podataka

CILJANE SKUPINE Šira javnost / ljubitelji suvremene umjetnosti Medijatori između publike, umjetnika i umjetničkog djela: kustosi, novinari, izdavači … Korisnici edukacijskih djelatnosti Korisnici istraživačkih djelatnosti Stručnjaci Turisti, kreativni i industrijski design, marketing, IT stručnjaci Političari; kulturne politike

DCA: 29 izvještaja / produkata WP1: 6 Progress Reports, 2 Periodic Reports (+ Financial Statement), 1 Quality Plan WP2: Assessment of archives (current status), Technical specifications (best practice recommendation), Final Digitisation Report WP3: Metadata Requirements (Guidelines), Recommendation Report (Contextualisation, Enhancement) WP4: Digitisation WorkFlow, Experienced Report (Guidelines) WP5: Research Report, Ingestion Guidelines WP6: Guidelines, Best Practice Recommendations WP7: Dissemination Plan, Website, Presentation Tools, Final Report

Rezultati -

metapodataci za digitalizaciju djela suvremene umjetnosti

-

A - Ž vodič o načinima digitalizacije suvremene umjetnosti

-

Instrukcije i primjeri iz prakse za dugotrajnu konzervaciju digitalnih podataka

-

javna dostupnost podataka

-

on-line pristup djelima europske suvremene umjetnosti

-

nova saznanja i iskustva (vodiči, upute, primjeri dobre prakse)

-

-

daljnja razrada pitanja i problematika digitalizacije, konzervacije, metapodataka i autorskih prava on-line dostupnost zbirki partnera s DCA projekta

Workshop Brussels – Amsterdam, 22. - 24. 3. 2011 "Introduction of digitisation workflow: everything you have to take into account before you start digitising“

Digitisation workflow – wp4 Athens, May 5, 2011

Introducing Photographic Digitalisation of Works of Art

By Johan Geleyns, Repro Photographer& Consultant

1.Characteristics of Items to be digitised (non audio-visual material): ANALOG

Segment

710 radova + komponente

Amounts

Type

Original carrier specifications

Condition

Type of digital file

Remarks

4

4

drawing

Pencil, Paper

OK

Image file

Photographing

1

11

drawing

Pencil, Paper

OK

Image file

Scanning

4

9

drawing

Indian ink, Paper

Ok

Image file

Photographing

1

5

drawing

Indian ink, Paper

Ok

Image file

Scanning

4

1

drawing

Felt Tin Pen, Paper

OK

Image file

Photographing

1

1

drawing

Felt Tin Pen, Paper

OK

Image file

Scanning

1

1

drawing

Felt Tin Pen, Paper

Needs restoration

Image file

Scanning

1

1

drawing

Tempera, paper

Ok

Image file

Scanning

4

5

drawing

Coal, paper

OK

Image file

Photographing

1

2

drawing

Coal, paper

Needs restoration

Image file

Scanning

1

1

drawing

Collage, cardboard

Ok

Image file

Scanning

4

1

drawing

Chalk, paper

OK

Image file

Photographing

1

1

drawing

Pastel, paper

Ok

Image file

Scanning

4

1

drawing

Pastel, paper

Ok

Image file

Photographing

1

1

drawing

Laser copy, paper

Ok

Image file

Scanning

1.Characteristics of Items to be digitised (videos): ANALOG -

Segmen t

Amounts

Carrier Type & Format

Colour system

43 rada Duration

Soundtrack

Quality Analysis

Age 1995.

5

1 MMSU1941

unknown

unkno wn

Sound

to be done by subcontractor

5

1 MMSU2246

VHS master (DVD copy)

unkno wn

sound

to be done by subcontractor

Condition

Type of digital file

Remarks (e.g. action to be taken)

unknown

unknown

Video & image

Component of work stated in "NON AV MATERIAL – ANALOG" table Contact the artist to give technical info and master Physical condition & quality analysis to be checked with lab / subcontractor before any other action/handling

00:03:00

unknown

Video & image

Contact the artist to give technical info Physical condition & quality analysis to be checked with lab / subcontractor before any other action/handling

00:01:21

Unknown

Video & image

Component of work stated in "NON AV MATERIAL – ANALOG" table Contact the artist to give technical info and master Physical condition & quality analysis to be checked with lab / subcontractor before any other action/handling

2002.

5

1 MMSU2394

DVD (copy)

unkno wn

Unknown

to be done by subcontractor

1999.

MMSU – DRAWING ITEMS TO BE DIGITISED Item no.

MMSU-358

Title

U mislima

Year

1952.

Artist (s) / Creator

Miše, Jerolim

Producer (in case of AV/sound work)

Not applicable

Type

Drawing

Material & Carrier

Pencil, Paper

Status of source material (in case of AV/sound work)

Not applicable

Rights you hold on source material (in case of AV/sound work)

Not applicable

Sizes / format

340x256mm

Other technical parameters (in case of AV/sound work)

Not applicable

Duration (in case of AV/sound work)

Not applicable

Current location

Storage room in museum

Where will it be digitised

In the museum

Transportation required

No

Condition of the work

Good

IPR owner

The artist’s family

Rights already cleared for digitisation

yes

Rights already cleared for online publication

yes

IPR ISSUES / AUTORSKA PRAVA

‘Clean-hands’ policy / u potpunosti riješena autorska prava mogućnost objavljivanja svih sadržaja prikaz podataka na Europeani i povezanost s visokokvalitetnim reprodukcijama i njihovim originalnim sadržajem (na webstranice institucije)

AUTORSKA PRAVA Muzej moderne i suvremene umjetnosti, Dolac 1/II, Rijeka, zastupan po ravnateljici dr. sc. Jerici Ziherl (dalje: Korisnik), s jedne strane i Ime i prezime Autora/Nasljednika, adresa, mjesto prebivališta, JMBG: ____________, OIB: ____________ (dalje: Autor), s druge strane, sklopili su dana _________ 2011. godine sljedeći AUTORSKOPRAVNI UGOVOR Broj __________ Članak 1. Ugovorne strane suglasne su da je Korisnik temeljem Ugovora/Odluke/Pisma _______broj _________ od ___________ godine stekao vlasništvo nad umjetničkim djelom/-ima Autora pod nazivom ________________________________ (dalje: djelo). Članak 2. Autor za Korisnika osniva pravo iskorištavanja djela, vremenski i prostorno neograničeno, a obuhvaća: - pravo digitalizacije, odnosno izrade digitalne reprodukcije djela za potrebe realizacije europskog projekta pod nazivom Digitalizacija suvremene umjetnosti - Digitising Contemporary Art (DCA) koji ima za cilj prezentirati javnosti suvremena umjetnička djela u digitalnom obliku putem portala Europeana te za potrebe realizacije eventualnih budućih projekata u kojima će Korisnik sudjelovati, - pravo reprodukcije digitaliziranog djela na papir, mikrofilm ili elektronički u odgovarajućem broju primjeraka potrebnih isključivo u svrhu očuvanja djela i dokumenata povezanih s njima u skladu s važećim propisima i pravilima muzejske struke, - pravo korištenja digitalnog sadržaja djela u svrhu distribucije informacija u medijima oglašavanja, - pravo omogućavanja javnosti da pristupi digitaliziranom djelu putem internetske stranice Korisnika. Za raspolaganje pravima iz stavka 1. ovoga članka Autor ne potražuje naknadu.

SPECIJALNA PUNOMOĆ kojom ja, __________________________ iz _____________________, ___________________, (IME I PREZIME) (MJESTO) (ADRESA) kao koautor/-ica umjetničkog djela pod nazivom ____________________ opunomoćujem _______________________ iz __________________, _____________________ (IME I PREZIME) (MJESTO) (ADRESA) da u moje ime i za moju korist raspolaže mojim koautorskim dijelom navedenog umjetničkog djela, na način da je ovlašten/-a sklopiti autorskopravni ugovor s Muzejom moderne i suvremene umjetnosti broj ______ na osnovu kojeg muzej stječe pravo iskorištavanja djela, vremenski i prostorno neograničeno. U ________________, ____________ (MJESTO) (DATUM) ___________________________________

Braco Dimitrijević, Tryptichos Post Historicus, 2005. instalacija (2 bicikle, jabuke, 2 slike iz fundusa: MMSU-66, MMSU-1597) , varijabilne dimenzije, MMSU-2772

Digitisation Royal Museums of Fine Arts of Brussels © Johan Geleyns (RoScan)

Prepare work for digitisation (cleaning, restoring,

…)

Prepare work for digitisation (cleaning, restoring, …)

Digital camera in standard neutral daylight photographic conditions (studio flash)

Multishot, A2 at 300 dpi without interpolation, in 16 bit colour-depht/channel. Working space: Adobe RGB

Step 7

Colour corrections : • colour cast

• gradation • contrast • saturation • grey balance

• selective corrections

CMYK files 2nd print (1st correction)

Step 8

Printed result compared to the work of art

Standard daylight 5000° Kelvin spectral continuous tubes for correct colour perception, avoiding all effects of metamerism

Step 9

Colour corrections : • colour cast

• gradation • contrast • saturation • grey balance

• selective corrections To be applied to the entire image or if necessary only locally

Colour corrections : • colour cast

• gradation • contrast • saturation • grey balance

• selective corrections

CMYK files 3rd print (2nd correction)

Step 11

Printed result compared to the work of art

Standard daylight 5000° Kelvin spectral continuous tubes for correct colour perception, avoiding all effects of metamerism

Repeat steps 9 -10 -11 until the original work of art and the printed results match perfectly

Final result is an approved digital contract proof simulating European offset printing of the highest quality, according to the ISO 12647-v2 standard and a matching CMYK digital file A2 size 300 dpi without interpolation for the European printing and publishing market. Archive and final user • CMYK A2 300 dpi converted into the same size RGB files for non-European clients using American or Japanese printing standards ; • CMYK A2 300 dpi converted into RGB A5 300 dpi files for internal scientific (intranet) use ; • CMYK A2 300 dpi converted into RGB A6 72 dpi files for other applications, like web design.

• Discs: CDs, DVDs and Blu-ray. • Disks: hard drives or hard disks. • R (read-only) discs : can only be written to once • RW (read-write) discs : can be reused. • DVDs must be selected for particular purposes, eg data backup • Readonly discs are recommended for archive purposes as they can’t be altered. • R (read-only) discs : can only be written to once • RW (read-write) discs : can be reused. • DVDs must be selected for particular purposes, eg data backup • Readonly discs are recommended for archive purposes as they can’t be altered.

Open Archival Information System (OAIS): ISO 14721 MD5 print

Overview! By Johan Geleyns, Repro Photographer& Consultant

Camera: 40Mpix multishot for best detail and chromatic quality. Printer: calibrated according to the ISO standard and regularly verified. Viewing: standard 5000°-5500°K lamps replaced every 2 years. Computer + necessary software for shooting, printing, colour correcting. Monitor, calibrated for maximum visual control while correcting.

Therefore a multishot camera is the best choice: Sufficient resolution for our needs Best chromatic quality Best detail By Johan Geleyns, Repro Photographer& Consultant

What qualities should the printer have? Stability: the printed result should always be the same, today, tomorrow, nextyear. Calibrated according to the printing media. We choose good quality 200g or 250g semi-matte paper, which is as close as possible to printing paper. Calibrated according to the ISO 12647v2 for perfect offset chromatic simulation. Calibrations are done by external companies and checked regularly! By Johan Geleyns, Repro Photographer& Consultant

The printed result is now being compared to the originalwork.

- We need standardized viewing conditions to avoid all effects of metamerism (the effect of light on colour pigments). - We always view under standard 5000°5500°Kelvin light source conditions, with no other light sources around. - It should always be at approximately the Same distance to the original as well as he printed proof. - We replace the lamps every 2 years. By Johan Geleyns, Repro Photographer& Consultant

Tools (descriptions / photographs) to identify VIDEO formats: •Videotape Identification and Assessment Guide (Texas Commission on the Arts) see: http://www.arts.state.tx.us/video/ • The Little Reference Guide for Small Video Collections (Barry Van der Sluis - The Little Archives of the World) see: http://www.little-archives.net/guide/ Tools (descriptions / photographs) to identify FILM formats: • Film Identification, Film Preservation Handbook (National Film and Sound Archive) see: http://www.nfsa.gov.au/preservation/film_handbook/film_identification.html • Film Gauge Identification, Moving Image Collections: Guidance Notes (Film Archive Forum) see: http://bufvc.ac.uk/faf/guidancenotes.pdf

Examples of Inspection Reports > magnetic tape Basic Condition Report (IMAP Preservation Guide) http://resourceguide.eai.org/preservation/singlechannel/pdf/videotape_inspection_form.pdf > film Print Condition Report (National Film Preservation Foundation) http://www.filmpreservation.org/userfiles/image/PDFs/pcr_blank.pdf

1 Skeniranje crteža, grafika i fotografija 2 Fotografiranje instalacija, skulptura, multimedijalne instalacije, foto-instalacije 3 Skeniranje analognih negativa / potraživanje digitalnih negativa 4 Fotografiranje slikarstva, crteža, grafika, plakata i fotografija 5 Digitalizacija video, film i audio kolekcije

Ines Matijević Cakić 2. Anamorfoza, 2009. c/b digitalna fotografija digitalno obrađena u tzv. interlance format, digitalni ispis (HP Dye Ink, HP DesignJet 500) na foto mat papiru (Tepede Zentih Photo Matt, 180 gr/m2) kaširan na plastičnu lentikularnu ploču (Microlens FlipSign) korištenjem tehnologije hladne laminacije i dvostrano ljepljive prozirne poliesterske folije (Neschen Gudy Clear 23) Dimenzije lentikularne ploče: Ø 900 mm lentikularna grafika 1/2

Tanja Dabo, Ti si prekrasna osoba, 2006. video u boji, zvuk, betacam digitalna, t=4 min, t=48 sek, MMSU-5014,

Tomislav Brajnović, Greenhouse, 2003. , ready made staklenik i rabljeni predmeti, standard 8 mm film, video, zvuk, svjetlo, 220 x 223,7 x 264 cm, MMSU-2467 (1-159)

Mirko Zrinšćak Budi zadovoljan da forma nema kraja! 2007. 14 elemenata, ambijentalni postav hrastovina, v: 450 – 680 cm MMSU-ULZ-5638/2009

Zahvaljujem na pažnji!

www.digitisingcontemporaryart.eu

www.dca-project.eu