Towards a New Enlightenment - Moving Images, Recorded Sound, and the Promise of New Technology
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The document discusses recommendations for advancing access to audiovisual cultural heritage through new technologies and partnerships. It recommends engaging the public and technology through sophisticated marketing and discoverability of content. It also recommends facilitating use by clearing rights through collaboration, partnering with producers to build archival guidelines, working with business to determine best practices for public-private partnerships, and working with Americans. The overall goal is to achieve a new digital enlightenment through securing access to current and future generations of cultural works.
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Since the 1990s, multimedia technology has had a growing impact on communication and education in museums. Museums have spent enormous effort in the production of multimedia applications like CD-i, CD-ROM, websites, kiosk-systems, etc. Nowadays museums are open to any kind of media that the new communication technology has forced them to comply with. Using Multimedia and Social Media-supported technologies, visitors have changed from passive learning customers to active co-authors and consumers.
The Millennial generation in particular, with its narcissistic and event-driven behavior and its expectation of following the latest technology innovations, has led museums into a dependency with unforeseeable consequences. This essay contains aspects of the following questions: Are the multimedia contents, which mostly follow Alfred Barr’s didactic model of the educated consumer and focuses on interpretation, still relevant in view of the changed behavior of the digital born user?
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Similar to Towards a New Enlightenment - Moving Images, Recorded Sound, and the Promise of New Technology
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By Harald Kraemer, School of Creative Media, City University of Hong Kong
Since the 1990s, multimedia technology has had a growing impact on communication and education in museums. Museums have spent enormous effort in the production of multimedia applications like CD-i, CD-ROM, websites, kiosk-systems, etc. Nowadays museums are open to any kind of media that the new communication technology has forced them to comply with. Using Multimedia and Social Media-supported technologies, visitors have changed from passive learning customers to active co-authors and consumers.
The Millennial generation in particular, with its narcissistic and event-driven behavior and its expectation of following the latest technology innovations, has led museums into a dependency with unforeseeable consequences. This essay contains aspects of the following questions: Are the multimedia contents, which mostly follow Alfred Barr’s didactic model of the educated consumer and focuses on interpretation, still relevant in view of the changed behavior of the digital born user?
How can museums develop a contemporary education model that strengthens our visitor/user’s ability to critically engage with art and media? In the face of the growing loss of the products of our digital cultural heritage, the question remains how can we ensure that future generations will have access to the hypermedia applications created by museums, and that we will not lose these interactive masterpieces, as it is happening right now with the first generation of multimedia classics? Last not least the inglorious end of the NMC raises the question of who now evaluates and recommends the technologies that will have to be used in museums in the future.
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As a result of digitisation of analogue holdings and working processes, more and more material from audiovisual archies is being made available online. This marks a transformative shift, as archives and users are now sharing the same information space. Once digital and part of an open network, objects from audiovisual archives can be shared, recommended, remixed, embedded, cited, referenced to and so on. It is a far cry from several years ago, when users were obliged to visit brick and mortar institutions to access collections. This shift towards digital enables archives to fulfil their pubic missions better; crossing geographical boundaries, using new channels for content distribution, engage with user groups and use new technologies to make work processes more efficient and allow for new access points to collections. It also introduces fundamental challenges, forcing audiovisual archives to [1] rethink their role and function in the value chain of media production and modern society at large, [2] assess which activities and competences are vital to succeed in a digital context.
We envision the future audiovisual archives to be smart, connected and open; using smart technologies to optimise workflows for annotation and content distribution. Collaborating with third parties to co-design and co-develop new technologies in order to manifest themselves as frontrunners rather than followers. Being connected to other sources of information (other collections, contextual sources), to a variety of often niche user communities, researchers and the creative industries. To embrace the use of standards defined by external instances rather than by the cultural heritage communities themselves. Fully embrace ‘open’ as the default to have maximum impact in society: applying open licences for content delivery, using open source software and open standards wherever possible. Promote open access to publications and so on.
This keynote examines how the public mission of archives (i.e. supporting a myriad of users to utilize collections to learn, experience and create) can be achieved in a digital context. It addresses the challenges related to the role and function of institutions and provides practical insights in how archives can establish a culture of innovation to manage challenges they face today. It addresses some of the major questions audiovisual archives are faced with today.
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Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The teaching of film literacy is an “uncommon and sporadic practice”. This was the answer of 62% of the 6,701 teachers who participated in a European-wide survey. Only 5% teachers answered it is a “widespread and common practice”. Why is the teaching of film literacy not more widespread? Especially since having access to equipment is no longer a barrier and film and television have a major impact on the way young people see and understand the world. This session tries to see why moving images are not used more and what can be done. It will do so by looking into current practices, presenting potential use cases, and identifying learning objectives that can only be reached by using moving images.
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Technology in the Mindful Museum
Writer and commentator Adam Gopnik has described the mindful museum as a place that is primarily about the objects it contains while also recognizing that it should not seek to explain what cannot be explained. “And that means simply that wall labels and explanatory text of all kinds should be as modest and invisible as conceivable,” he said in the first annual Eva Holtby Lecture on Contemporary Culture at Toronto’s Royal Ontario Museum just months before the ROM opened its Michael Lee-Chin Crystal addition in June 2007. How should museums interpret Gopnik’s view in today’s world of flat screens and wireless networks and one where most museum and gallery visitors can receive instant information via their cell phones, Blackberrys and iPods. And where does that leave the ROM as it grapples with technology solutions for providing context and interpretation in its powerful new gallery spaces? Created by Brian Porter for the 2008 Technology in the Arts: Canada Conference.
What's the (European) story - Alexander Badenoch
This document discusses making digital cultural heritage more engaging by focusing on curiosity, connections, and storytelling. It proposes a project called "A Transnational History of Europe" that would create a virtual exhibit combining expert narratives with objects from various cultural heritage institutions. The exhibit would highlight European stories that question borders and show movements across contexts. Experts and users would bring different perspectives into dialogue to develop a common language around cultural heritage objects and texts. The goal is to stimulate exploration and engagement with digital collections.
Open, Smart and Connected access to Audiovisual Collections
Talk given at COPEAM 2018.
“Heritage and Media – Preserving the future through our past: an opportunity for growth and democracy?”
Calviá - Mallorca, 10-12 May 2018
Hotel Meliá Calviá Beach
Calle Violeta, 1 Calviá Beach - 07181 Mallorca, Spain
Cultural heritage embraces resources inherited from the past and offers a great variety of opportunities to the present: monuments, sites and traditions, but also visual arts, cinema, TV and radio archives.
In this framework, the Media of the Euro-Mediterranean region – both traditional and new ones – have to play their role, particularly given the challenges that such issue implies in terms of content production, audiovisual documents preservation and impact of the digital transition as a tool for the safeguard and enhancement of our common heritage.
53 million objects! Now what?
The document discusses the challenge of curating large amounts of digital content from Galleries, Libraries, Archives and Museums (GLAM) institutions to make it more useful and meaningful for various audiences. It provides examples of how Europeana has curated content for digital humanists studying newspapers, teachers exploring World War I sources, citizens on Wikipedia, art lovers on Wikidata and Wikipedia, and art professionals viewing high-resolution altarpieces. The key takeaways are to be open, generous, humble, aware of users, and repackage large datasets into smaller, contextualized and segmented datasets for specific user groups.
"Toward Sustainability: "Margin" and "Mission" in the Natural History Setting...
The document discusses constraints on open access to information, with four main constraints identified: market, technology, information, and law. It also discusses how these constraints are represented in Lessig's model of "Code and other laws of cyberspace." Additionally, it provides an adapted diagram showing these constraints.
Film Museums and Their Marketing Strategies
For a Film Museum, marketing plays a vital role although cinema’s involvement makes it popular and famous
Film Museum’s in western countries are successful in celebrating their cinema and culture
For a country like India with even diverse and rich Cinema background, a successful Film museum is still a distant dream
Films are seen as a medium where a director ‘s vision is implied although a film museum , on the other hand , leaves a visitors free to interpret the objects
Kongo 2010 - Philippe van Meerbeeck
This document summarizes several projects undertaken by VRT, the Belgian public broadcaster, to digitize and provide access to its audiovisual archives relating to Belgian Congo. It overviews the DAR and DIVA projects to digitize tapes and film from 1985-1995 and 1953-present. It then focuses on the KONGO 2010 project, a multi-platform initiative to commemorate the 50th anniversary of Congolese independence through TV series, websites, DVDs using 200 hours of archival film and audio from 1930-1965. It describes the various TV series, documentaries and websites produced for the project totaling a 1.3 million Euro budget. It also discusses unlocking archives from other institutions and using animation to help
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...
Bellevue Programme 2011 - EU Seminar: Bruxelles, 2 March 2011. Presentation by Giuliana De Francesco (Ministry for Cultural Heritage, Italy, Stiftung Preussischer Kulturbesitz, Germany)
Asp New Media Art 2
This document provides links and information related to new media art. It begins with a list of links for the Whitney Biennial, TEDx talks, and a video of sounds recorded on Jupiter. It then provides historical context on early computers and computer art. It discusses tools and precedents of new media art, including influences from Dada, Duchamp, and other artists. It also discusses qualities of digital media and provides examples of new media artworks and artists.
The Evolution of Traditional to New Media
1. The document outlines different ages of communication technology - pre-industrial, industrial, electronic, and information age.
2. It provides examples of early communication technologies from each age, including cave paintings, clay tablets, the telegraph, telephone, television, and the internet.
3. The ages progressed from basic tools and writing systems to electronic devices and digital networks as technology advanced over thousands of years.
Jean Christophe Meyer: Histoire Parallèle/Die Woche vor 50 Jahren – Lieu de m...
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This paper is aimed first at analyzing the initial public impact of Histoire Parallèle/Die Woche vor 50 Jahren, which aired weekly first on la Sept and then on French-German TV channel Arte from 1989 to 2001.
The 55-minute show exploited newsreel material, systematically presenting it in the original full length after exactly 50 years after its initial release in movie theatres. It covered a period stretching from the beginning of World War II until the end of the Marshall Plan. It simultaneously illustrated contradictive perspectives of several nations at war with each other. This part of the show lasted for 40 minutes. Then, for the final quarter of an hour, the show’s mainstay host, historian Marc Ferro discussed the material presented with a guest, usually a scholar. Despite the fact that the show could never be sold to foreign channels or rebroadcast, it still arouses great interest. Therefore our paper intends to explore how and to what extent content curation may contribute to it becoming a transnational or European Lieu de mémoire.
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The document discusses transcoding video files for both access and preservation purposes. Transcoding involves converting a video file from one format to another, such as converting a preservation master file to a smaller file that can be more easily streamed online for access. Transcoding can improve access by reducing file sizes and switching to popular codecs, while preservation transcoding focuses on migration to more efficient or supported codecs. The document provides examples of how various properties of a video file, such as frame size and rate, are manipulated during the transcoding process.
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The document discusses several themes around digital preservation including structures for collaboration, open source software, economics of preservation, and new patterns of production. It notes the increasing demands on institutions to preserve vast amounts of digital content and the challenges of predicting long-term costs. Specific costs are provided for scanning different media types. Complex cost models try to illustrate uncertainties but show preservation costs are much higher than storage costs. Partnerships are discussed but can be uncertain. Personal archiving is growing in importance.
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The document discusses the digitization of Danish Broadcasting Corporation's (DR) collection of 180,000 DAT tapes containing around 380,000 hours of broadcast content from 1989 to 2005. DR partnered with Memnon Archiving Services to industrialize the digitization process. Key steps included preparing requests for proposals, selecting Memnon based on their ability to meet requirements, and establishing a production line to digitize over 13,000 hours per month. The collaboration was successful due to both parties' expertise and flexibility during testing to optimize workflows and reduce costs to €3.03 per hour. Lessons learned included thorough preparation, allowing flexibility in testing, and optimizing processes to reduce labor costs for large-scale digitization projects.
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This document discusses the challenges of preserving audiovisual content both digitally and through analog means. It outlines three aspects of managing digital collections: digitizing analog content, working with and accessing digital files, and preserving digital content long-term. Key challenges mentioned include dealing with obsolete formats, regularly migrating files, and ensuring the integrity of files through fixity checks and condition monitoring. The document promotes tools from the PrestoCentre and PrestoPRIME projects for areas like risk analysis, cost modeling, and digital preservation strategy and planning to help organizations address these complex issues.
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Towards a New Enlightenment - Moving Images, Recorded Sound, and the Promise of New Technology
- 1. Toward the New Enlightenment Film, Sound, and the Promise of New Technology Screening the Future 2011 PrestoCentre Hilversum March 14, 2011
- 2. ‣ PrestoCentre ‣ “Keeping audiovisual content alive”
- 3. ‣ Anatoly Lunacharsky ‣ Soviet Commissar of Enlightenment, 1917-1929 ‣ Believed all people had the right to all knowledge
- 4. I. The new Enlightenment II. Five recommendations (plus 1 free bonus recommendation!) III. Conclusion
- 10. ‣ http://www.ina.fr/histoire-et-conflits/seconde-guerre- mondiale/video/AFE85001142/l-amiral-darlan-en- afrique.fr.html
- 13. Comité des Sages report highlights: - “There is no more urgent question than to secure the access of current and future generations” - Digitization “a moral imperative” Estimated cost: 100 billion Euros Still to go: - 24 million hours of audiovisual programs - 358 million photos - 75 million works of art - 77 million books - 10 billion pages of archives - Private sector “must be involved” - Digitized cultural content “important raw material for services and products” - Reach for a digital Renaissance instead of a digital Dark Age
- 14. ‣ http://ec.europa.eu/information_society/ activities/digital_libraries/comite_des_sages/ index_en.htm
- 15. I. The New Enlightenment
- 16. ‣ Anatoly Lunacharsky ‣ Soviet Commissar of Enlightenment, 1917-1929 ‣ Believed all people had the right to all knowledge
- 20. ‣ www.kk.org
- 21. ‣ “Avatar” ‣ James Cameron ‣ Twentieth Century Fox Film Corp., 2009
- 23. ‣ http://popcornjs.org/ ‣ http://www.rebelliouspixels.com/ semanticremix/
- 24. II. Five recommendations (plus 1 free bonus!)
- 26. Recommendation 1: Engage our publics! Develop sophisticated marketing strategies for our audiovisual collections and investments.
- 27. ‣ “Mnemosyne,” directed by John Okomfrah (2010) ‣ UK Arts Council film archives
- 29. Recommendation 2: Engage with technology! Make our content completely discoverable.
- 30. ‣ New partners
- 31. ‣ The “Music Genome Project”
- 37. Recommendation 3: Facilitate use, and clear rights: Lead this charge: collaborate with current owners and their lawyers!
- 38. ‣ “The Anatomy of a Video Clip” (2010)
- 39. ‣ “The Anatomy of a Video Clip” (2010)
- 40. Recommendation 4: Partner with producers - where archives began! Build guidelines to modern productions from an archival point of view!
- 42. Recommendation 5: Work with business! Collectively determine best practices for public-private partnerships in audiovisual cultural heritage.
- 43. ‣ Chiquitaleaks - INT - 2011
- 46. Bonus Recommendation # 6: Work with Americans!!!