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