Torben Søborg (by way of Andreas Broeckmann) (by way of Alex Adriaansens <>) on Fri, 15 Aug 2003 14:03:05 +0200 (CEST)

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[Nettime-nl] VS: VIDEO ART\e-monitor 19


August 14, 2003


1. Radical Software back again - on the web
2. 404 Object Not Found Congress papers on the web
3. The V2-Organisation conservation project "Capturing Unstable Media" on 
the web
4. ISO 15706:2002: ISAN - International Standard Audiovisual Number

1. Radical Software "back" again ... on the web

"Power is no longer measured in land, labour or capital, but by access to 
information and the means to disseminate it"

  This statement is not from today but from the very first issue of the 
video magazine Radical Software - way back in the spring 1970
   .  and you can say that it is very much in accordance with this 
statement that the historic video magazine Radical Software now has 
"resurfaced" on the Internet. The purpose has been to make all the historic 
issues of Radical Software freely available to everyone. This purpose is 
both exciting and relevant and worthwhile because while you often in works 
on video art history find references to Radical Software it has been almost 
not possible to review its content because individual copies are rare and 
few complete collections exist

  But now, thanks to a joint project of the Fondation Daniel Langlois in 
Montreal and Davidson Gigliotti and Ira Schneider, one of the founders of 
the magazine and the Raindance Collective that published it.

  The original team behind Radical Software was Beryl Korot, Phyllis 
Gershuny and Ira Schneider. The first issue appeared in the spring 1970 and 
eleven issues were published from 1970 to 1974.

  Now they are available on the Radical Software Web Site, 
<>   as PDF files you 
can download - and you can not only read the text and view the graphics but 
also view the original page layout!

  On top of this the web site is supplied with a very good on-site search 
engine devised by the Fondation Langlois which allows you - among other 
possibilities - to follow keywords through the many reviews, essays and 
articles in the eleven issues.

  Having been engaged with video since 1967-68 (and tried to edit and 
publish a Danish magazine about video, 1978-82/83) it is with a rather 
wonderful feeling of recognition that you turn over the pages of this 
magazine as an important primary source on the origins of and the rationale 
behind many aspects of much early video and video art.

  I could go on, but stop and instead appeal to you to go to the web site 
and start by reading David Ross' introduction "Radical Software Redux" and 
Davidson Gigliotti's "A Brief History of RainDance" before you turn the 
pages of Radical Software.

Torben Soeborg

2. 404 Object Not Found Congress papers on the web

  In my covering in VIDEO ART\e-monitor no. 17 of the "404 Object Not 
Found" - the international congress concerning the production, presentation 
and preservation of media arts", organised by the hARTware group in 
Dortmund, June 19-22, 2003, I wrote that I would not try to cover the 
congress but just give a short account /personal impressions because a 
"congress-reader" with all the papers and statements later on would be 
published on the Internet.
  If you go to <>
("congress", "data base", "links") you will now find several texts of the 
speakers and several new links. Just now you will find the following papers:

- PPP: From Point to Point or from Production to presentation to 
preservation of media art von Hans Dieter Huber, Lecture, pdf document 

- Translation and Transmission. Ongoing. Anna Oppermann's non-electronic 
Media Art (as an Example for Certain Problems of Documentation and 
Re-Construction.) by Ute Vorkoeper, Lecture, pdf document (English)

- No Ego ? Preserving the exchange between artist and audience by Josephine 
Bosma, Preliminary text based on her lecture, pdf document (English)

- software art repository by Olga Goriunova,  pdf document (English)

- CONSERVIX by Fabian Thommen, pdf document (German)

  - Abstracts (from the Congress program), pdf document (German / English)

  . and you will also find a review by Wolfgang Neuhaus (Kunst im digitalen 
Nirwana, German) at Telepolis, 27.06.2003: 

-and a good publication list and an even more extensive and very useful 
list of links divided in the following sections: Archives, Texts, Digital 
Preservation, Projects and Institutions/Initiatives/Networks.

  I am sure that the hARTware people will keep adding more Congress papers 
to the website.

3. The V2 "Capturing Unstable Media" Conservation Project on the web

  At the "404 Object Not Found" Congress mentioned above the work group 
""under construction" presentation of current projects" presented - among 
other projects - the research project "Capturing Unstable Media", starting 
from March 2003 and initiated by the V2_Organisation in Rotterdam. It's a 
very interesting research project supported by the Dutch Mondriaan 
Foundation and the Canadian Fondation Daniel Langlois pour l'art, science 
et la technologie, MontrŽal.

  The project is on the issue of capturing unstable media art and 
preserving it in a medium-independent way. The project "focuses on 
preservation of the growing cultural heritage of "digitally born" artefacts 
of artistic nature". The V-2 Archives "with documentation of 20 years of 
media art events and electronic media art . functions as a test bed for 
this research project".

  The project is based on two case studies, two electronic art projects 
developed at the V2_Lab, and the research tasks are divided in the 
following sections:

Inventory of relevant collections and initiatives
Capturing and documenting electronic artworks
Implementation and

  Part of the project will be to research and develop appropriate 
preservation metadata models for the description of unstable media art from 
existing standards, indexing- and classification-schemes, terminology and 
ontologies, in order to create - if possible - an interoperability of 
metadata or a "translation" model for the metadata systems of the various 
media archives and an exchange tool to translate each institution's 
metadata to an agreed exchange format.

  The V2-Organisation has already experience in developing an 
object-relation database for the preservation, presentation and 
dissemination of their own V2-Archive (1) and has published the paper 
"Archive of Living Actualities" as a detailed report on their past, present 
and future goals and activities around the archive (2)

  It is the goal of V2-Organisation to translate the findings from the 
research development   to actual software implementations and the results 
of the project will be published as a book.

You are now able to see more about the project on the Internet (3). Anne 
Nigten is project coordinator and Boudewijn Ridder is project manager

  I hope to come back to the project because it could be interesting to 
compare it with the 235Media project MKA / MedienKunstArchive (4) and also 
with IMAP FileMaker Template database structure developed by the American 
IMAP / Independent Media Arts
Preservation (5)

  This template for a catalogue database is created to allow small 
institutions and individuals with unique electronic media collections and 
no trained staff to catalogue their archives in a standardized form in 
order to establish a compatible information system for independent media 
archives across broad geographic regions and a wide range of 
organizations/institutions (which I feel is pretty much also the purpose of 
the V2_Project) - but also with the "end goal" to enable the creation of "a 
union catalog . a database containing the records of a number of 
collections" (which I feel is also the goal of the MKA-project).

  The IMAP-Template database adheres to the MARC standards. MARC stands for 
MAchine Readable Cataloging - a system designed to allow the computerizing 
cataloguing of archival materials. It is divided in the following sections:

Complete Record
Basic Record
Unique Identifiers
Title & Intellectual Description
Physical description
Acquisition, Usage & Restrictions
Intellectual Access
Local Information
MARC Record
  Any archival cataloguing system agreed upon should also relate to the new 
ISAN   / International Standard Audiovisual Number system - see the next 

(1)   <http://archive,>http://archive, (2)
(4)   You can find information about 235Media on 
<>   . The pilot project MKA 
/ MedienKunstArchive will later on be available through the Internet.
(5)   <>

4. ISAN - International Standard Audiovisual Number - now approved

  In VIDEO ART\e-monitor No. 6 (1) I mentioned that the ISO, the 
International Organisation fro Standardisation was in the process of 
creating a system for audiovisual works equivalent to the ISBN registration 
for printed matters This system: ISAN - International Standard Audiovisual 
Number has now been approved by 100% of the ISO members. It is published as 
ISO 15706:2002  (1) and is now ready for use - and should be a part of any 
data cataloguing system of electronic / unstable media archives.

The ISAN / International Standard Audiovisual Number is a voluntary 
numbering system for the identification of audiovisual works. It provides a 
unique, internationally recognized and permanent reference number for each 
audiovisual work registered in the ISAN system.

  An ISAN consists of 16 hexadecimal digits divided into two segments: a 
12-digit root segment followed by a 4-digit segment for the identification 
of episodes or parts when applicable. It is not a "content descriptor", but 
a "dump" number, meaning that it does not include any codes or other 
significant elements. Its purpose is to identify the work with a unique 
number, not to provide any type of descriptive information about the work. 
This is the same as with the ISBN-system for printed matter: The ISAN 
identifies works, and remains the same for an audiovisual media work 
regardless of the various formats in which the work is distributed (e.g. 
any video formats, CD, DVD etc.) or the uses to which it is put.

What is the ISAN used for?

  An ISAN uniquely distinguishes one audiovisual media work from all other 
audiovisual works. Other methods of identifying audiovisual works, such as 
by title, can result in confusion about the specific work being referenced. 
For example, one title can be very similar to another. Titles also change 
when a work is distributed beyond its country (or countries) of origin and 
the title is translated into other languages.

  Because each ISAN is a unique number that is permanently assigned to an 
audiovisual media work, it can identify that work across national 
boundaries and language barriers. As a unique identifier, the ISAN is 
useful in a wide range of computerized applications, particularly those 
that involve databases or the exchange of information about audiovisual 
media works. Some of its possible applications are:

- by collecting societies / archives to assist in the allocation of royalties;
- to track the use of audiovisual works; and,
- for anti-piracy purposes such as verifying title registrations.

Where is the ISAN to be attached?

  The ISAN is the unique reference number for an audiovisual media work and 
this should be included as a data element in any systems used to manage and 
process information about audiovisual works. Collecting societies / 
Archives, for example, will use the ISAN when they exchange and process 
information about the use of audiovisual media works.

  For audiovisual media works in digital form (e.g. DVD, CD, CD-ROM etc.), 
the ISAN should be embedded into the appropriate master copies of the work 
and transferred to any subsequent copies made from those masters. The MPEG 
2 and MPEG 4 standards (for the coded representation of audiovisual and 
multimedia objects) provide a space for the ISAN identifier in the MPEG format.

  For audiovisual media works in analogue form (e.g. video, film etc.), the 
ISAN should be securely affixed to the master and any other archival 
copies. For new works, that could involve printing the ISAN on the master 
tape/negative. For works already in existence, that would involve securely 
linking the work and its ISAN in some form of permanent record, archive or 
inventory. It could also involve physically recording the ISAN on the 
container of the master version, whenever possible.

  The ISAN should also be included in the documentation and packaging for 
an audiovisual work.

  The ISAN should be seen as an indispensable and valuable supplement to 
any archival cataloguing system agreed upon - see above about the V_2 
project, the IMAP-Template and the MKA-Project.


  THE DANISH VIDEO ART DATA BANK is a non-profit agency for promoting 
Danish video art outside Denmark

The VIDEO ART\e-monitor is an e-mail edition of the former printed 
newsletter "monitor". Both were and are published with irrugular intervals 
- "monitor" from 1985-86 up to no. 48 in december 2000 and "VIDEO 
ART\e-monitor" since February 2001. Editor:  Torben Soeborg 
( ).

You can find the earlier editions of VIDEO ART\e-monitor on . If you want to  receive VIDEO ART\e-monitor 
(free) send an e-mail to <mailto:soeborg@inet.uni2>soeborg@inet.uni2

Themstrupvej 36, Dk-4690 Haslev
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