DASH Archives - February 2006

Dear Colleagues,

For those who don't know ...  our dear friend and colleague Nam June 
Paik passed away last week.

I would like to share part of an email Laurence Gartel sent to me:

I attended the funeral of my dear friend Nam June
Paik yesterday. The funeral took place at the Frank
Campbell Funeral Chapel on 81st Street and Madison
Avenue, New York City.

In attendance were the complete A List of the Art world.
Yoko Ono, Merce Cunningham, Jean Claude and Christo,
Besty Broun director of the Smithsonian, John H. Hanhardt,
curator of the Guggenheim, and Bill Viola.

There were faces in the crowd of people I hadnt seen in some
30 years. German museum director Wulf Herzogenrath told me
that he purchased  the "Paik Abe Synthesizer " for his museum. That
was the very first piece of electronic equipment my hands ever touched.

Paik influenced the entire world, taking steps that were not there
before. He called me "A crazy man" because I took stills of moving
images which he was not doing and saw the digital world just above
the mountain. As most of you know, Paik was kind enough to write the
Introduction to my book, "Laurence GARTEL: A Cybernetic Romance,"
published by Gibbs Smith, Utah, 1989. I will forever be indebted to him
for his wonderful words, and kind thoughts.

In true Fluxus style, Paik's nephew Ken Paik Hakuta told everyone to
cut off their neck ties in homage to Paik. Yoko Ono placed half a tie on Paik's
body resting gently. It was indeed outrageous and Paik's final performance.

May the vision of great men live on.

Best
Steve Danzig

-- 
http://www.internationaldigitalart.com/

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Preservation and Conservation Issues Related to Digital
Printing and Digital Photography
Institute of Physics, London
24-25 April 2006

A two day conference for conservators of digital prints
and photographs

Following the successful conferences in October 2000 and
April 2003, the Institute of Physics in collaboration with
the MATAR Research Centre of The University of Arts London
are staging a third two day conference to examine progress
and research on materials and processes used for producing 
digital prints and photographs for archival storage. The
aims of this conference are to inform those responsible
for the preservation and conservation of digitally produced 
material about the developments in digital photography and
digital printing technologies, the progress in research on
inks and substrates and their significance for the archiving
of artefacts. As with the previous conferences our aim is
to promote links between industry and the conservation world.

Once again, the conference will be jointly organised by the
Printing, Papermaking and Packaging Group of the Institute
of Physics and the MATAR Research Centre of The University of
Arts London. It will be held at the Institute of Physics
Conference Centre in Portland Place, London. The event is
aimed at an international audience of conservators,
preservation personnel, conservation scientists, archivists,
curators, photographers, the digital printing industry as
well as ink, paper and textile R&D departments. Post-prints
will be produced after the conference, and will include a
transcript of the discussion sessions. Research areas explored
during the conference will include: developments in digital
printing and photography technologies and future trends, 
developments in materials for digital printing including,
plastics and papers, developments in colorants and their
stability, progress in establishing standards and archiving
protocols. There will also be poster presentations and an
associated Trade exhibition.

Preliminary Programme

Monday 24 April 2006

09:00-09:50 Registration and Coffee

09:50 Welcome and Introduction

Session 1: Digital Processes and Materials
Session Chair: Andrew Manning (MATAR Research Centre, University 
of the Arts
London)

10:00 Longevity Issues associated with Photo-realistic Ink Jet Images
Algy Kazlauciunas (Department of Colour and Polymer Chemistry, 
University of
Leeds)

10:40 What happens to prints at the bottom of the pile? To 
evaluate the
whiteness of artists' enhanced inkjet papers and changes in 
relation to
fading of ink
Carinna Parraman and Qiang Wang (Centre for Fine Print Research, 
University
of West England)

11:10 Coffee

11:30 Stability of Digital Prints in Comparison with Traditional 
Printing
and Artistic Techniques
Marzenna Ciechanska (Academy of Fine Arts, Warsaw, Poland) and 
Philip Zerek
(National Library, Warsaw, Poland)

12:00 Panel Discussion

12:30 Lunch

Session 2: Standards and file management
Session Chair: Alan Hodgson (Alan Hodgson Consulting, Macclesfield)

13:30 International Standards on Permanence of Digital Information
Peter Adelstein (Image Permanence Institute, Rochester Institute of
Technology, USA)

14:00 Keeping Stuff Safe: Using Guidelines and Standards for Digital
Preservation
Veronica Davis-Perkins, Richard Butterworth, Paul Curzon and Bob 
Fields
(School of Computing Science, Middlesex University)

14:30 Conservation and Digitisation of Vesta Tilley Scrapbooks
Moira Buick (Paper Conservator, Bristol)

15:00 Panel Discussion

15:30 Tea

15:50 Tutorial: Understanding, Measuring and Predicting Print Life
Joseph LaBarca , Douglas Bugner and Jon Kapecki (Eastman Kodak 
Company,
Rochester, New York, USA)

19:45 Wine Reception


Tuesday 25 April 2006

Session 3: Conservation and Preservation: Paper-based Media
Session Chair: Joyce Townsend (Tate Gallery, London)

09:00 Production of Archivally Stable Fine Art Prints: The Role 
of the
Master Printer in the Digital Age
Paul Thirkell and Paul Laidler (Centre for Fine Art Print Research,
University of The West of England)

09:30 Further Issues with the Fading of Digital Prints
Alan Hodgson (Alan Hodgson Consulting, Macclesfield)

10:00 Water Damage Recovery of Digital and Traditional Prints
Peter Adelstein (Image Permanence Institute, Rochester Institute of
Technology, USA)

10:30 Coffee

11:00 From Bash Street to Duchamp: Case Studies of Paper-Based
Reconstructions of Contemporary Artworks
Stephen Hoskins (Centre for Fine Print Research, University of West
England), Sophia Fairclough  and Caroline Harrison (Bristol)

11:30 High Value-Added Products Through Jet Printing - textiles
Long Lin (Department of Colour and Polymer Chemistry, University 
of Leeds)

12:00 Panel Discussion

12:30 Lunch and Poster Session

Session 4: Conservation and Preservation: Photographic Images
Session Chair: Bob Thompson (MATAR Research Centre, University of 
the Arts,
London)

14:00 Image Storage and Permanence Considerations in the Long Term
Preservation of Photographic Images
Joseph LaBarca (Eastman Kodak Company, Rochester, New York, USA)

14:30 Perceptual Colour Film Restoration
Alessandro Rizzi (Dipartimento di Tecnologie dell'Informazione, 
University
of Milan, Italy)

15:00 A Closer Look at the Effects of Temperature and Humidity on 
Ink Jet
Photographic Prints
Douglas E. Bugner and Brian L. Lindstrom (Eastman Kodak Company, 
Rochester,
New York, USA)

15:30 Panel Discussion

16:00 Tea

16:30 Conclusion and Summing Up

17:00 Close of Meeting

Trade Exhibition stands are available at £250.00+VAT.
Please contact Dawn Stewart for further information at
dawn.stewart@iop.org

Proceedings from the April 2003 conference are available to 
purchase at
£25.00 per copy. Please contact Dawn Stewart at the Conference 
Office, The
Institute of Physics, 76 Portland Place, London, W1B 1NT, UK, e-mail
dawn.stewart@iop.org to order your copy.

Registration and General Information

1. Venue - the conference will be held at the Institute of 
Physics, London.
Maps will be sent to all registered participants.
2. Conference Fees - the fees for the conference include 
refreshments,
lunches, conference reception, conference proceedings volume, 
basic costs
and administration charges. The Fees are as follows:

Before and on 31 January 2006
* Member £175.00
** Concessionary/Student Member £90.00
*** Non-member £200.00

After 31 January 2006
* Member £225.00
** Concessionary/Student Member £140.00
*** Non-member £250.00

Membership of the Institute of Physics is open to all those with 
an interest
in Physics. For further information, please visit
http://about.iop.org/IOP/Benefits/ or email membership@iop.org


On-Line Registration
On-line Registration is NOW available. NOTE: Those registering at 
the member
or concessionary rate will be required to submit their membership 
number.
For members of other societies, please indicate from the drop 
down list to
which society you belong. Note on-line registrations will be 
accepted only
if accompanied by a valid credit of debit card; all payments will be
processed securely using WorldPay. Confirmation of payment will 
be sent to
you by email once the transaction has been completed. If you are 
unable to
pay by debit or credit card you can download a PDF copy of the 
registration
form. Mail your registration form, together with a remittance for 
fees to
Registrations Department, Institute of Physics, 76 Portland 
Place, London
W1B 1NT, UK. Please note that unless payment is received prior to the
conference, your booking will not be guaranteed. You are strongly 
advised to
register before 31 January 2006.
3. Value Added Tax - Charges shown in this document are exempt 
from VAT
unless otherwise indicated. Where VAT is applicable it is shown and
calculated at the current standard rate of 17.5%. If the rate is 
altered as
a result of government legislation charges may be adjusted 
accordingly. A
tax invoice/receipt will be issued to those indicating that this 
is required
on on the registration form. The Institute's VAT registration 
number is
461-6000-84.
4. Methods of payment for postal registrations
a) Cheque, Bank Draft
Payable to the Institute of Physics in either Pound Sterling, 
Euros (rate of
1.468) or US Dollar (rate of 1.78).
b) Bank Transfer
Payable to the Institute of Physics, Lloyds TSB Bank Plc, 9-13 
Brompton
Road, Knightsbridge, London SE3 1DD, UK
£ Sterling payments to account number 0253575 sort code 30-94-81
Euro payments (exchange rate 1.48 to account number 86000359, 
Sort Code
30-94-81
$ US Dollar payment (exchange rate of 1.78 to account number 
11306596, Sort
Code 30-94-81. A copy of the instructions to the bank should be 
enclosed
with the Conference Registration Form
c) Credit Card: Master/Visa/American Express

Confirmation of Booking, Registration Enquiries
On-line - Details of your bookings will appear on screen prior to 
entering
credit card details. Please print this page for your records. 
Registration
via hard copy - You should receive confirmation of your booking 
within ten
days of registering. If payment is not enclosed with your 
registration form,
you will be sent a pro-forma invoice which must be paid prior to the
conference. For enquiries about your booking or payment please 
contact
registrations@iop.org
Cancellations - No payment can be refunded to those cancelling 
after Monday
10 April 2006. All cancellations must be made in writing (please 
note that
we are unable to accept cancellations made over the telephone).

Conference Organisers:
Professor Bob Thompson
MATAR Research Centre
University of Arts London
Tel: 01732 762249
E-mail: r.rcthompson@btopenworld.com

Dr Andrew Manning
MATAR Research Centre
University of Arts London
London
SE1 6SB
E-mail: a.manning@lcc.arts.ac.uk

Professor Joyce Townsend
Tate Britain
Millbank
London
SW1P 4RG
E-mail: Joyce.Townsend@tate.org.uk

The Daniel Langlois Foundation for Art, Science and Technology


Sylvie Lacerte, Accredited Researcher 2005

The Foundation is pleased to announce the publication on its Web 
site of the text 9 Evenings and Experiments in Art and 
Technology: a gap to fill in art history's recent chronicles, by 
Sylvie Lacerte. In Spring 2005, Ms. Lacerte was an accredited 
researcher with the Foundation, where she prepared a paper that 
she delivered at REFRESH! The First International Conference on 
the Histories of Media Art, Science and Technology, held at the 
Banff New Media Institute from September 28 to October 3, 2005. 
Following her in-depth research into the many activities 
conducted by EAT to support artists in their experiments with 
technology in the 1960's and 1970's, Ms. Lacerte asks why the 
chronicles of this groundbreaking organisation have been largely 
overlooked by the majority of works that examine art history of 
the past four decades. In her text, she offers a few hypothesis 
to help explain this mystery:
http://www.fondation-langlois.org/flash/e/index.php?NumPage=1716


DOCAM: Documentation and Conservation of the Media Arts Heritage

The DOCAM research Alliance announces the launch of its new Web 
site http://www.docam.ca/
Initiated by the Daniel Langlois Foundation for Art, Science, and 
Technology, DOCAM's primary objective is to develop new 
methodologies and tools to address the issues of preserving and 
documenting technological and electronic works of art. The DOCAM 
Web site allows visitors to explore the research alliance's key 
areas of focus:
- The conservation of works of art featuring technological components
- Documentation strategies and structures adapted to these works 
of art
- A typology and historical listing of the technologies deployed 
by the artists
- Catalogue structures and methods for works featuring 
technological components
- Terminological tools and structures for the electronic arts
The DOCAM Web site also offers a list of related research 
committees and their members, information on DOCAM events, and 
electronic and media art conservation and documentation resource 
directories. Research reports and articles on case studies 
conducted by DOCAM will also be added regularly to the site. And 
finally, a thematic scan of the key research areas targeted by 
DOCAM is accessible from the site.



Daniel Provost
Agent de recherche / Research agent
la fondation Daniel Langlois
    pour l'art, la science et la technologie
t: (514) 987-7177 (4201)
f: (514) 987-7492
dprovost@fondation-langlois.org
www.fondation-langlois.org

Art-Place-Technology
International Symposium on Curating New Media Art
Liverpool School of Art & Design and FACT Centre
30 March - 1 April 2006

http://www.art-place-technology.org

New media art is a global phenomenon: a rapidly changing
and dynamic field of creative practice which crosses
conventional categories and disciplinary boundaries,
challenging our assumptions about art.

- How do curators engage with new media art?
- What makes a good curator of new media art?
- What can we learn from the pioneers of this field?
- What does the future hold for curating new media art?
- What common ground exists with other disciplines?

These and other issues will be explored at Art-Place-
Technology. Speakers include figures who are shaping the
practice and theory of curating new media art, including:

Inke Arns, Artistic Director, Hartware MedienKunstVerein, Dortmund.
Sarah Cook, Curator and Co-editor, CRUMB, University of Sunderland
Paul Domela, Deputy Chief Executive, Liverpool Biennial
Lina Dzuverovic, Director, Electra, London
Charlie Gere, Reader in New Media Research, Lancaster University
Beryl Graham, Curator and Co-editor, CRUMB, University of Sunderland
Ceri Hand, Director of Exhibitions, FACT, Liverpool
Drew Hemment, Director, Futuresonic, Manchester
Kathy Rae Huffman, Director of Visual Arts, Cornerhouse, Manchester
Stephen Kovats, International Programs Developer, V2, Rotterdam
Amanda McDonald Crowley, Director, Eyebeam Art & Technology 
Center, New York
Francis McKee, Head of Digital Arts & New Media, CCA, Glasgow
Alfred Rotert, Co-director, European Media Art Festival, Osnabrck
Trebor Scholz, Institute for Distributed Creativity, New York
Dimitrina Sevova & Alain Kessi, codeflow, Zurich
Paul Sullivan, Director, Static Gallery, Liverpool
Simon Worthington, Mute, London

Art-Place-Technology will look at historical and current
projects by some of the world's leading curators of new
media art, and discuss how curating new media art creates
interfaces with the art world, museum culture, media,
publishing and academia.

Further programme details and registration:
http://www.art-place-technology.org
Tel +44 (0)151 2315190
E-mail APT@ljmu.ac.uk

Art-Place-Technology is hosted by the Liverpool School of
Art & Design, Liverpool John Moores University in collaboration
with FACT and Art Research Communication.

Supported by Arts Council England North West, Media Arts Network.

----------------------------------
Art Research Communication
newsletter@a-r-c.org.uk
www.a-r-c.org.uk
----------------------------------

A Valentine's Baby

ENIAC celebrates its 60th birthday February 14th:

http://tinyurl.com/cmspw    (worth noting tinyurl.com!)

The video is especially worth watching.

Also:
http://news.zdnet.com/2100-9584_22-6038667.html
http://blogs.zdnet.com/BTL/index.php?p=2578

DANUBE UNIVERSITY KREMS, AUSTRIA 
2006/07 Program

PROGRAM DESCRIPTION
Danube University's Department for Applied Cultural Studies, Center for Image Science is now accepting applications for the 2006/07 class of their MA Program in MediaArtHistories starting november. This two year low-residency degree provides students with deeper understanding of the most important developments of contemporary art through a network of renowned international theorists, artists and curators like Steve DIETZ, Erkki HUHTAMO, Lev MANOVICH, Christiane PAUL, Paul SERMON, Oliver GRAU, Gregor LECHNER, Jens HAUSER and many others. 

Artists and programers give new insights into the latest and most controversal software, interface developments and their interdisciplinary and intercultural praxis. Keywords are: Strategies of Interaction & Interface Design, Social Software, Immersion & Emotion, Artistic Invention.

Using online databases and other modern aids, knowledge of computer animation, net art, interactive, telematic and genetic art as well as the most recent reflections on bio & nano art, CAVE installations, augmented reality and locative media are introduced. 

Historical derivations that go far back into art and media history are tied in intriguing ways to digital art.  Key approaches and methods from Image Science, Media Archaeology and the History of Science & Technology will be discussed. Media Art History offers a basis for understanding evolutionary history of audiovisual media, from the Laterna Magica to the Panorama, Phantasmagoria, Film, and the Virtual Art of recent decades. 

The MA MediaArtHistories is located in the the Center for Image Science, housed in a 14th century Monastary, which holds also the historic G*ttweig collection, with more than 30.000 original graphics, etchings, prints etc., dating from the Renaissance and Baroque era until today. It contains works of various German, Italian, Dutch, French and British artists (from D*rer to Klimt�). This allowes contextualization of the latest media art in its art and image history and the courses to work directly with originals - from book illustration to photography to the most contemporary media art. 

MediaArtHistories MA is also based on the international praxis and expertise in Curation, Collecting, Preserving and Archiving and Researching in the Media Arts. What are, for example, the conditions necessary for a wider consideration of media art works and of new media in these collectionsof the international contemporary art scene? And in which way can new Databases and other scientific tools of structuring and visualizing data provide new contexts and enhance our understanding of semantics?

  =>  www.donau-uni.ac.at/mediaarthistories 


DANUBE UNIVERSITY  --  located in the UNESCO world heritage WACHAU 
Danube University Krems is the first public university in Europe which specializes in advanced continuing education offering low-residency degree programs for working professionals and lifelong learners. The MA MediaArtHistories is located in the the Center for Image Science, housed in a 14th century Monastary, remodeled to fit the needs of modern research in singular surroundings. Krems is a traditional educational town - with 30 schools and high schools attended by more than 10,000 students. Therefore, Krems� environment is richly furnished with restaurants, hotels, guest-houses and students� hostels, as well as leisure-time and cultural facilities. The idyllic environment of the Wachau, which belongs to UNESCO world heritage, its exquisite wines and numerous sports facilities, contribute to the quality of life of students at the Danube University Krems.
www.donau-uni.ac.at
www.donau-uni.ac.at/en/studium/fachabteilungen/kultur/zentren/zbw/index.php


ADDITIONAL SPECIALITIES OF THE CENTER FOR IMAGE SCIENCE
The Center offers  long term preservation and growth of the Database of Virtual Art. As pioneer in the field, the Database of Virtual Art has been documenting the rapidly evolving field of digital installation art since 1999, supported by Deutsche Forschungsgemeinschaft. The research-oriented, complex overview of immersive, interactive, telematic and genetic art has been developed in cooperation with renowned media artists, researchers and institutions. 
   => www.virtualart.at 
The Database of Virtual Art and Leonardo/ISAST and the Banff New Media Institute collaborated to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art. In late September, more than 200 new media practitioners from around the world gathered at Banff New Media Institute (BNMI) for Refresh!  The complete conference is available as a Webcast at: 
   => http://www.mediaarthistory.org/navbar-links/refresh/origprogram.html 

DIGITALIZATION
The DigitalizationCenter is equipped with an ultra-modern multifunctional digital reproduction system for digitizing works of art, graphics, maps and similar originals. The highest resolution combined with fast scan speeds and the possibility of serial image processing enable a cost effective workflow. The workstation is used for the digitalization of the G*ttweig  collection of engravings  and other collections, as well as for teaching purposes. New Digitalisation Center for Cultural Studies planed - further information available soon.

::  OTHER COURSES: Starting Autumn 06 
          --> Certified Expert �Visual Competencies�, 1 Semester
          --> Certified Expert �Digital Asset Management�, 1 Semester
          --> Certified Expert �Iconography�, 2 Semester
          --> Certified Expert �Photography�, 2 Semester
          --> Certified Expert �Exhibition Design and Management�, 1 Semester
          --> Certified Expert �Scientific Visualization�, 2 Module
       => http://www.donau-uni.ac.at/zbw 


The MediaArtHistories program in Krems is unique in that it actively seeks to assemble a diverse group of students and welcomes applications from Europe, Asia, Africa, North and South America. 
Space is limited, so please apply as soon as possible. Additional information is available on the programs website: 
www.donau-uni.ac.at/mediaarthistories 

If you would like an information pack, or if you have any questions, please contact in the first the office at the Center for Image Science, Danube University Krems, Dr.-Karl-Dorrek-Str. 30, 3500 Krems. Email: petra.gratzl@donau-uni.ac.at 

If you have further queries about specific contents of the program, please contact Mag. Jeanna Nikolov jeanna.nikolov@donau-uni.ac.at or program director Prof. Dr. Oliver Grau oliver.grau@donau-uni.ac.at (Head Department for Applied Cultural Studies and Center for Image Science)


:: NEWSLETTER If you like to receive our eBULLETIN, please SUBSCRIBE: 
    => www.donau-uni.ac.at/zbw/engnewsletter  or send a mail to jeanna.nikolov@donau-uni.ac.at 

:: Suggestions?  We appreciate your feedback:  => jeanna.nikolov@donau-uni.ac.at   
  

http://www.designtimeline.org/ is a good resource, although in English and Dutch - pretty
straight forward and nicely anecdotal. I found it using www.artifact.ac.uk which is a
useful search for art and design related web resources

Tim Machin (t.machin@mmu.ac.uk)
Manchester Metropolitan University Library
Minshull House, 47-49 Chorlton Street 
Manchester, M1 3FY
Tel: +44 0161 247 6677
Fax: +44 0161 247 6352

Before acting on this email or opening any attachments you should read the Manchester
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