Jerica Ziherl Muzej moderne i suvremene umjetnosti Rijeka DCA is co-funded by the CIP-ICT Policy Support Programme of the European Union 6. SEEDI Zagreb,

Jerica ZiherlMuzej moderne i suvremene umjetnosti Rijeka

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

6. SEEDIZagreb, 18. – 20. V. 2011.

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 zemalja21 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.)

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 SERRALVESFUNDAÇÃO 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 zbirkiWP3: Definiranje metapodataka za digitalizaciju / arhiviranje

suvremene umjetnostiWP4: DigitalizacijaWP5: Pripreme za prilagodbu i unos sadržajaWP6: 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

InIntroducingtroducingPhotographic DigitalisationPhotographic Digitalisationof Works of Artof Works of Art

By Johan Geleyns, Repro Photographer& Consultant

1.Characteristics of Items to be digitised (non audio-visual material): ANALOG 710 radova + komponente

SegmentAmounts 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 - 43 rada

Segment Amounts

CarrierType & Format

Colour system Soundtrack Quality Analysis Age

DurationCondition

Type of digital file

Remarks (e.g. action to be taken)

5  1MMSU-1941

 unknown  unknown

  Sound to be done by subcontractor

1995. unknown unknown Video & image Component of work stated in "NON AV MATERIAL – ANALOG" tableContact the artist to give technical info and masterPhysical condition & quality analysis to be checked with lab / subcontractor before any other action/handling

5 1MMSU-2246

VHSmaster(DVD copy)

 unknown

 sound to be done by subcontractor

2002.

00:03:00  unknown Video & image Contact the artist to give technical infoPhysical condition & quality analysis to be checked with lab / subcontractor before any other action/handling

5 1MMSU-2394

DVD(copy)

  unknown

  Unknown to be done by subcontractor

1999. 00:01:21  Unknown Video & image Component of work stated in "NON AV MATERIAL – ANALOG" tableContact the artist to give technical info and masterPhysical condition & quality analysis to be checked with lab / subcontractor before any other action/handling

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 straneiIme 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

DigitisationRoyal 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

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

Printed result compared to the work of art

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

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

Printed result compared to the work of art

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.

• 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

• Discs: CDs, DVDs and Blu-ray.• Disks: hard drives or hard disks.

Overview!Overview! By Johan Geleyns, Repro Photographer& Consultant

CameraCamera: 40Mpix multishot for best detail and chromatic quality.: 40Mpix multishot for best detail and chromatic quality.

PrinterPrinter: calibrated according to the ISO standard and regularly verified.: calibrated according to the ISO standard and regularly verified.

ViewingViewing: standard 5000°-5500°K lamps replaced every 2 years.: standard 5000°-5500°K lamps replaced every 2 years.

ComputerComputer + necessary software for shooting, printing, colour correcting. + necessary software for shooting, printing, colour correcting.

MonitorMonitor, calibrated for maximum visual control while correcting., calibrated for maximum visual control while correcting.

Therefore a multishot cameraTherefore a multishot camera is the best choice:is the best choice:

Sufficient resolution for our needsSufficient resolution for our needsBest chromatic qualityBest chromatic qualityBest detailBest detail

By Johan Geleyns, Repro Photographer& Consultant

WhatWhat qualitiesqualities should the printer have?should the printer have?

StabilityStability: the printed: the printed resultresult shouldshould alwaysalways be the be the same, today, tomorrow, nextyear.same, today, tomorrow, nextyear.

CalibratedCalibratedaccording to the printing media.according to the printing media. We chooseWe choose goodgood quality 200g or 250g semi-matte paper, which is as quality 200g or 250g semi-matte paper, which is as close as possible to printing paper.close as possible to printing paper.

CalibratedCalibratedaccording to the ISO 12647v2 for perfect offset according to the ISO 12647v2 for perfect offset chromatic simulation.chromatic simulation.Calibrations are doneCalibrations are done byby externalexternal companies and companies and checkedchecked regularly!regularly!

By Johan Geleyns, Repro Photographer& Consultant

The printedThe printed result is nowresult is now beingbeing compared to the compared to the originalwork.originalwork.

- We need - We need standardized viewing conditions standardized viewing conditions to to avoid all effects of metamerism (the effect of light on avoid all effects of metamerism (the effect of light on colour pigments). colour pigments).

- We always view under standard - We always view under standard 5000°-5000°-5500°Kelvin 5500°Kelvin light source conditions, with no other light source conditions, with no other light sources around. light sources around.

- It should always be at approximately the - It should always be at approximately the Same distance to the original as well as he printed Same distance to the original as well as he printed proof. proof. - We replace the lamps every 2 years.- 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 tapeBasic Condition Report (IMAP Preservation Guide)http://resourceguide.eai.org/preservation/singlechannel/pdf/videotape_inspection_form.pdf> filmPrint 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 Cakić2. 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 ZrinšćakBudi zadovoljan da forma nema kraja! 2007. 14 elemenata, ambijentalni postavhrastovina, v: 450 – 680 cm

MMSU-ULZ-5638/2009

Zahvaljujem na pažnji!

www.digitisingcontemporaryart.eu

www.dca-project.eu