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Preservation of Moving Images and Sound Bibliography

Preservation Planning and Management Preservation

Preservation Planning and Management provides guidance and a list of consultants and resources for audiovisual preservation, organized under sections for consultants, project planning and management, collection assessment and surveys, collection management, appraisals, and resources. It cites James C. Scholtz’s Developing and Maintaining Video Collections in Libraries (Santa Barbara, CA: CLIO, 1989) and notes the Magnetic Media Preservation Sourcebook available from Media Alliance; listings are provided as a service and are not endorsements by Media Alliance or the Experimental Television Center. Named consultants and institutions (including Boston Art Conservation; Heritage Resource Management Associates; Hollywood Vaults; the Image Permanence Institute at RIT; VidiPax; and others) are described with services such as collection assessment, appraisal, storage and environmental surveys, disaster planning, grant consultation, cataloging, and technical research on temperature, humidity and pollutants.

Preservation Terms and Definitions:  Publications, Resources and Links Preservation

Collection of links and bibliographic references to glossaries and definitions for video preservation, consulting and treatment services, general archival terminology, audio archives, and media reformatting. Includes Video Preservation: Glossary of Terms by Rebecca Bachman (originally published 1996; reprinted in Playback: A Preservation Primer for Video, Bay Area Video Coalition, 1998); Obsolescence Ratings by Sarah Stauderman in the Video Format Identification Guide; and Magnetic Tape Storage and Handling by Dr. John W. Van Bogart (Commission on Preservation and Access, June 1995). Also lists the Magnetic Media Preservation Sourcebook (Media Alliance, 1998), resources from AIC, IASA, ARSC, ScreenSound Australia, ACVL, and references to SMPTE materials and digital conversion glossaries.

Preserving Digital Art: The Goldsen Archives Bibliography

Contents follow: Preserving Digital Art: The Goldsen Archives by Professor Timothy Murray of Cornell, Announcing the 2004 Media Arts Fellows, News from the Program, Capturing the Elusive Verb- New Latin American Documentaries, Fellows News, and Lists of the 2004 Nominators and Penelists. All texts i…

2001 Preserving the Immaterial: A Conference on Variable Media Chronology

Preserving the Immaterial: A Conference on variable Media convened at the Solomon R. Guggenheim Museum on March 30–31, 2001; it focused on the museum's Variable Media Initiative and examined case studies of artworks in ephemeral media, including photo collages, film performances, video installations and Web sites. Artists, curators, conservators and media experts debated strategies for safeguarding works against deterioration, technological obsolescence and cultural amnesia. The program was organized by John G. Hanhardt, Senior Curator, and Jon Ippolito, Assistant Curator, Film and Media Arts Program; studied artists included Jan Dibbets, Felix Gonzalez-Torres, Ken Jacobs, Robert Morris, Mark Napier, Nam June Paik and Meg Webster.

Preserving the Immaterial: The Guggenheim Museum's Variable Media Initiative Preservation

On March 30–31, 2001 the Solomon R. Guggenheim Museum in New York hosted a conference introducing its Variable Media Initiative, led by Senior Curator John Hanhardt and Assistant Curator Jon Ippolito. The Initiative employs a detailed artist questionnaire to specify which aspects of ephemeral-media works must endure and to outline four strategies (reinterpreted, migrated, emulated, stored); sessions presented case studies by Ken Jacobs, Bruce Nauman, Nam June Paik and others. Discussions addressed tape remastering, machine obsolescence, performance fixity versus recording, and emulation for software preservation; JIM HUBBARD, author/contact.

Preserving the Moving Image Bibliography

Preserving the Rhizome ArtBase Preservation

Richard Rinehart, Director of Digital Media at the Berkeley Art Museum/Pacific Film Archive and Digital Media faculty at UC Berkeley, authored a September 2002 working paper for Rhizome on preserving the Rhizome ArtBase, an online archive of new media art. He advocates emulation—preferably hardware-level emulation—outlines artwork and technology metadata requirements, recommends tools and collection policies, and urges obtaining and archiving legal copies of software alongside a storage-migration plan using optical/read-only media and backups. He recommends Rhizome prepare metadata, storage and policy solutions and join collaborative projects to test open-source hardware emulators.

Preserving the Rhizome ArtBase Bibliography

Preserving the Rhizome ArtBase Richard Rinehart. September 2002. Discussion of preservation strategies for new media and net art. With thanks to Rhizome for permission to reproduce.

Pressure Point - conference on narrative, media, and technology Bibliography

"Interactive narrative did not begin in cyberspace. It has deep, tangled roots in an array of earlier forms. But the new electronic media provokes us to reconceptualize these two concepts--narrative and interactivity--their distinctive functions and pleasures, and their complex relations with histor…

Pressure Points: Video in the Public Sphere Bibliography

Pressure Points: Video in the Public Sphere in Art Journal: Video - The Reflexive Medium

Prime Image Operations Manual for TBC+ Digital Video Time Base Corrector + Digital Effects Bibliography

Prime Image Operations Manual for TBC+ Digital Video Time Base Corrector + Digital Effects. Includes schematics for Ampex 6802 NO-OP Generator

Principles of Electronic Image Processing - Image Processing Systems Tools

Technical overview of video synthesizers (image processors) defining them as integrated assemblages of video signal sources, processors, and controllers; examples cited include cameras, decks, character generators, oscillators, keyers, VCAs, mixers, colorizers, sequencers, SEGs and frame buffers. The text classifies three signal types (video, sync, control) and lists system elements (sync, routing, output amplifier, monitoring, control); it explains termination and genlock use, describes monitoring equipment (waveform monitor, vectorscope, color and B/W monitors) and outlines the function of colorizers.

Principles of Electronic Image Processing - Scanning Tools

Overview of CRT scanning for camera and monitor rasters, describing pixels and a 525-line frame assembled from two interlaced fields of 262.5 lines (30 frames/sec, 60 fields/sec, 15,750 Hz line frequency) with approximately 483 active lines and about 460 dots per line. The text explains retrace and timing intervals, active versus timing lines, dot-matrix organization, the Kell Factor and typical vertical resolution (~343 lines), and cites persistence of vision and phosphor retention. It also summarizes standards history: NTSC (FCC 1941; US, Canada, Japan), 625/50 Hz Western Europe, 819/50 Hz France, NTSC color (US early 1950s), PAL (late 1960s), SECAM (France; USSR/Eastern Europe), 1969 EIAJ and consumer formats VHS and Beta.

Principles of Electronic Image Processing - Signals Tools

Technical overview of electronic image processing emphasizing video as a time-dependent medium and defining signal as changes in voltage that encode image information; outlines categories of signals (video, audio, control, synchronizing) and their roles in generation, alteration and control of images. Presents electrical fundamentals including voltage, current, resistance and Ohm's Law, waveform representation and measurement (oscilloscope, waveform monitor), modulation, filtering, analog versus digital structures, and control techniques such as potentiometers and voltage control. Notes Michael Faraday (1822) and Woody Vasulka's vector technique using the Rutt/Etra Scan Processor; cites Johanna Gill, Video: State of the Art 1976.

Principles of Electronic Image Processing - Switch, Mix, Compare Tools

Overview of electronic image processing outlining imaging systems as signal generators, processors and controllers and describing switching, sequencing, mixing and comparing techniques. It defines switcher types (broadcast and distribution), timing and sync issues including internal versus external sync and vertical-interval switching; it explains sequencers, mixers, fades, wipes and keyers with clip thresholds, oscillator control signals and waveform-based patterns, and notes SEG/mixer re-entry. Switchers and mixers are identified as commercially developed prior to and during the 1950s.

Principles of Electronic Image Processing - Sync Tools

Technical overview of synchronization in electronic video, distinguishing picture information and sync information and explaining horizontal and vertical sync, blanking intervals, sync pulses, equalization and serration pulses, and the role of internal and external sync generators. Provides timing specifics: one horizontal line 63.5 microseconds (52.7 µs visible, 10.8 µs blanking with ~1.27 µs front porch and ~4.76 µs horizontal sync/back porch), vertical blanking ≈1330 µs, field = 262.5 lines, line frequency 15,750 Hz and color subcarrier ≈3.58 MHz with burst on the back porch; VIR on line 19 and VIT on lines 17–18 and captions by networks and PBS in 1980 are noted. Cites Les Levine in Gregory Battcock, New Artists Video (1978) and David Antin, Video's Frightful Parent (1975).

Print Culture and Video Culture Bibliography

issue devoted to topic

Print Culture and Video Culture Bibliography

Special issue.

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Private Money and Personal Influence: Howard Klein and the Rockefeller Foundation's Funding of the Media Arts Bibliography

Howard Klein was an arts officer at the Rockefeller Foundation from 1967 to 1986, director for arts 1973–1983 and deputy director for arts and humanities 1983–1986; he personally directed most media grants and promoted public-television research projects including NCET (KQED), the New Television Workshop (WGBH) and the Television Laboratory (WNET/Thirteen). Klein worked closely with advisor Nam June Paik, funded artist residencies and equipment, and the foundation awarded more than $3.4 million for experimental public-television works from 1967–1977 and $1.1 million core support plus a $150,000 startup grant to the WNET lab (1972–1976).

Problems of Criticism: Art and Technology Bibliography

Processing Trauma: The Media Art of Daniel Reeves Bibliography

Daniel Reeves, an expatriate American living in Scotland and France, is a media artist whose single-channel videos and installations—including Smothering Dreams (1981), Obsessive Becoming (1995) and Try to Live to See This (1988)—employ layered image-processing, digital morphing, rotoscoping, archival footage and poetic narration to address trauma. Eingang: The Way In (1990) comprises seven reclaimed tree trunks with embedded monitors, bowls of water and stones and was exhibited at the High Museum and later at Montage '93 and Harvard (1994); The Hand That Holds Up All This Falling (Handwerker Gallery, Ithaca College, Oct 7–Dec 14, 1998) presented four installations, eight hand-painted digital composites, lantern slides, 16mm sound mag film and involved over 150 students, faculty and community members.

Processing trauma: the media art of Daniel Reeves Bibliography

The Hand That Holds Up All This Falling: The Works of Daniel Reeves October 7-December 14, 1998 Handwerker Gallery Ithaca College Ithaca, New Yorkhttp://www.findarticles.com/p/articles/mi_m2479/is_n2_v26/ai_21187360

Producing Videodance Bibliography

Cunningham Dance Foundation