6 SEEDI Zagreb 18 20 V 2011

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 Ph. D 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 – 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) WP 1: Projektni menadžment WP 2: Koordinacija partnera i tehničkih specifikacija digitalnih zbirki WP 3: Definiranje metapodataka za digitalizaciju / arhiviranje suvremene umjetnosti WP 4: Digitalizacija WP 5: Pripreme za prilagodbu i unos sadržaja WP 6: Dugotrajno očuvanje (upute za dugotrajnu konzervaciju digitalnih podataka) WP 7: 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 [WP 2+3] • Digitalizacija 27 000 suvremenih umjetničkih djela i 2000 kontekstualnih dokumenata [WP 4] • Skupljanje i prilagođavanje digitaliziranih reprodukcija za unošenje u Europeanu [WP 5] • Određivanje strategija dugotrajne konzervacije [WP 6] • Informiranje javnosti o rezultatima projekta [WP 7] • Postizanje rezultata projekta putem podrške i efektivnog vođenja (menadžment) [WP 1]

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 WP 1: 6 Progress Reports, 2 Periodic Reports (+ Financial Statement), 1 Quality Plan WP 2: Assessment of archives (current status), Technical specifications (best practice recommendation), Final Digitisation Report WP 3: Metadata Requirements (Guidelines), Recommendation Report (Contextualisation, Enhancement) WP 4: Digitisation Work. Flow, Experienced Report (Guidelines) WP 5: Research Report, Ingestion Guidelines WP 6: Guidelines, Best Practice Recommendations WP 7: 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 – WP 4 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 710 radova + komponente Segment 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

43 rada 1. Characteristics of Items to be digitised (videos): ANALOG - Segmen t Amounts Carrier Type & Format Colour system Duration Quality Analysis Type of digital file Remarks (e. g. action to be taken) 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 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 Age 1995. Condition 00: 03: 00 Soundtrack 5 1 MMSU 1941 unknown unkno wn Sound to be done by subcontractor 5 1 MMSU 2246 VHS master (DVD copy) unkno wn sound to be done by subcontractor 2002. 5 1 MMSU 2394 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 340 x 256 mm 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. S P E C I J A L N A P U N O M O Ć 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, A 2 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 2 nd print (1 st 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 3 rd print (2 nd 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 -v 2 standard and a matching CMYK digital file A 2 size 300 dpi without interpolation for the European printing and publishing market. Archive and final user • CMYK A 2 300 dpi converted into the same size RGB files for non-European clients using American or Japanese printing standards ; • CMYK A 2 300 dpi converted into RGB A 5 300 dpi files for internal scientific (intranet) use ; • CMYK A 2 300 dpi converted into RGB A 6 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. Open Archival Information System (OAIS): ISO 14721 MD 5 print

OVERVIEW! BY JOHAN GELEYNS, REPRO PHOTOGRAPHER& CONSULTANT Camera: 40 Mpix 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 200 g or 250 g semi-matte paper, which is as close as possible to printing paper. Calibrated according to the ISO 12647 v 2 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 Design. Jet 500) na foto mat papiru (Tepede Zentih Photo Matt, 180 gr/m 2) kaširan na plastičnu lentikularnu ploču (Microlens Flip. Sign) 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