The Art of Archiving Media
by Kari McQueen
available in PDF here > http://www.emmedia.ca/emmedia/handheld/EM.HH06.08.pdf

This document will touch on both the ethics and the technical requirements of exhibition standards for film, video, audio, and new media projects.  It will also provide a historical context for various forms of exhibition practices, as well as an up to date list of current practices and available resources across the country.

This sub-committee needs members to help with creating some of the content by writing sections of the document, offering advice, offering examples and case studies, and/or doing research.

Ideally members of this committee will come from production, exhibition, and distribution centres across the country, and they will offer their unique points of view and expert opinions and suggestions on the matter of media art exhibition practices and standards.

I have pasted below a rough draft of the table of contents/ outline of the document. This is just a starting point to give some ideas of areas where committee members could contribute their knowledge, experience, and expertise in written or diagram form.

Exhibition Standards
A Tool Kit to Assist Artist Run Spaces
With exhibition standards for film, video, audio, and new media work

TABLE OF CONTENTS

1. INTRODUCTION
2. ETHICS
....2.1 ARTIST NOTIFICATION AND PERMISSION
....2.2 COPYRIGHT AND LICENSING
....2.3 ARTIST FEES
....2.4 WORKING WITH DISTRIBUTORS
....2.5 PRINT TRAFFIC, SHIPPING, AND HANDLING
3. FILM EXHIBITION
....3.1 8MM
....3.2 16MM
....3.3 35MM
....3.4 LOOPS AND INSTALLATIONS
....3.5 MULTIPLE PROJECTORS
4. VIDEO EXHIBITION
....4.1 HD
....4.2 BLUE RAY
....4.3 TAPES
....4.4 DVDS
....4.5 LIVE FEEDS
....4.6 MULTI CHANNEL WORK
....4.7 MONITORS AND PROJECTORS
5. NEW MEDIA
....5.1 INTERACTIVE INSTALLATIONS
....5.2 WEB BASED WORK
....5.3 ELECTRONICS
6.  AUDIO
....6.1 INSTALLATIONS
....6.2 PERFORMANCES
....6.3 SCREENINGS
....6.4 RADIO BROADCASTS
....6.5 SITE SPECIFIC
7. OUTDOOR AND SITE SPECIFIC EXHIBITIONS
8. STRATEGIES
9. RESOURCES
....9.1 REGIONAL RESOURCES
....9.2 SUPPLIERS IN CANADA
....9.3 REPAIR HOUSES IN CANADA: 
....9.4 RENTAL HOUSES IN CANADA:
....9.5 NETWORKING GROUPS: 
....9.6 FUNDING PROGRAMS: 
....9.7 UPCOMING CONFERENCES: 
10. CONTRIBUTORS

Now we can write these things at our convenience instead of waiting for the email or phone call from the regional rep.

por ejemplo:

This past year the Filmpool has had some very unique and very successful exposure both nationally and internationally.

We had two members premiere their films at the Toronto International Film Festival. These included Mark Wihak’s River and Adam Budd’s The Whole Day Through. Budd’s film received some reviews while Wihak received some very favourable reviews at the Festival.

Not to be outdone, one of our other filmmakers, Brian Stockton had the opportunity of a lifetime with a screening at Cannes. Brian was able to screen Saskatchewan part III at the prestigious festival and brought some great attention to the PrairiesNWT and to the Filmpool, congrats Brian.

that’s all for now
thanks
felipe

There is a huge range of opinions about web broadcast/exhibition of media artworks. The most common scenario for online exhibition is online, on-demand screening.

Opinion about online broadcast is greatly divided: some see this as an marketing opportunity for artists, and don’t expect to pay any artist fees for online exhibition, while others believe that online forums should pay the same fees for artists as gallery exhibitions or even public broadcast.

The fact remains that online broadcast is an excellent opportunity for artists and centres to gain audiences, and is likely to become an increasingly important dissemination method in the future.

My first post includes a small survey of online screening fees and recommended rates. These are taken from a small selection of Canadian projects that I am aware of. As you will see, there is an incredible range of fees, both proposed and in practice.

Please post online screening rates that you are aware of. As well, I hope that this forum may also address other models of remuneration for artists from online screenings and alternatives to the common practice of using running time to place a value on artists’ work.

– Sandee