I will return to the office on Monday, November 3rd. If your message is
urgent please contact Marilyn Palmer : mpalmeri at themorgan.org
Eva Soos
Photography and Rights
The Morgan Library & Museum
225 Madison Avenue
New York, NY 10016
Fax: 212 685-7913
>>> mcn-l 10/30/08 16:00 >>>
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Today's Topics:
1. DM SIG an the MCN conference (Stanley Smith)
2. A summary of the Google Books Search settlement (Diane M. Zorich)
3. Visual Resources Association Foundation Receives Grant from
The Getty Foundation (Elisa Lanzi)
4. Re: A summary of the Google Books Search settlement
(Benjamin Bailes)
5. Re: photography, digitization, and a color/grey card?
(Eve Sinaiko)
----------------------------------------------------------------------
Message: 1
Date: Wed, 29 Oct 2008 13:27:37 -0700
From: "Stanley Smith" <[email protected]>
Subject: [MCN-L] DM SIG an the MCN conference
To: <mcn-l at mcn.edu>
Message-ID: <490864C8.0319.00B6.0 at getty.edu>
Content-Type: text/plain; charset=US-ASCII
The Digital Media SIG will be meeting Thursday from 6-7 at the MCN
conference,
but I wanted to alert members to another opportunity to shmooze further
with
other imaging geeks.
Alan Newman is hosting an ImageMuse Business Meeting and Lunch following
his
panel on Friday. The lunch will be at the National Gallery of Art, East
Building 4th floor conference room, between 1.00-3.00pm.
If you are interested in attending you must RSVP by November 5 directly
to
Alan at a-newman at nga.gov. A meeting agenda will follow.
Stanley Smith
Manager, Imaging Services
J. Paul Getty Museum
1200 Getty Center Drive, Suite 1000
Los Angeles, CA 90049-1687
(310) 440-7286
------------------------------
Message: 2
Date: Thu, 30 Oct 2008 09:29:32 -0400
From: "Diane M. Zorich" <[email protected]>
Subject: [MCN-L] A summary of the Google Books Search settlement
To: mcn-l at toronto.mediatrope.com
Message-ID: <p06200701c52f6205e7fc@[10.0.1.199]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"
If you're at all interested in how Google Books is about to change in
response to the new settlement reached between Google and
authors/publishers, you should read Arnold Arcolio's (of RLG)
insightful summary and analysis posted on the Hanging Together blog
(http://hangingtogether.org/?p=541).
No stone seems left unturned. A personal favorite: (under a
subsection entitled, "Preview Use" in a section on "Display Uses")
In response to a user's search, Google may allow the user to view up
to 20% of a Book (no more than five adjacent pages) before making a
purchase decision, but not to copy/paste, annotate or print any pages
from the Book ("Standard Preview"). For Books of fiction, Google will
block the last 5% of the Book (or a minimum of the final fifteen
pages of the Book)...
Don't want to give away those endings ; )
Diane
--
Diane M. Zorich
113 Gallup Road
Princeton, NJ 08542 USA
Voice: 609-252-1606
Fax: 609-252-1607
Email: dzorich at mindspring.com
or dianezorich at comcast.net
------------------------------
Message: 3
Date: Thu, 30 Oct 2008 09:29:41 -0400
From: "Elisa Lanzi" <[email protected]>
Subject: [MCN-L] Visual Resources Association Foundation Receives
Grant from The Getty Foundation
To: "MCN-L" <mcn-l at mcn.edu>
Message-ID: <49097E85.B24A.0054.0 at email.smith.edu>
Content-Type: text/plain; charset=US-ASCII
**Please excuse duplicate messages; this request has been sent to
several lists.**
Dear MCN colleagues,
The Visual Resources Association Foundation is pleased to announce a
$26,400 grant from The Getty Foundation to support the initiative,
"Implementing CCO: Standards and Best Practices."
The grant is intended to advance development of a de-facto standard for
contributing cultural and natural history collections to union catalogs
and digital repositories. Part I will support a strategic and
dissemination meeting for the CDWA-Lite Working Group and Cataloging
Cultural Objects (CCO) representatives with the goal of unveiling a new
international schema that will replace CDWA-Lite and Museumdat. The
CDWA-Lite schema is based on the Categories for the Description of Works
of Art. The CCO representation includes a member of the Visual Resources
Association Data Standards Committee to ensure that the new schema is
compatible with the VRA Core 4.0. The meeting is not only to give CCO
stakeholders an opportunity to respond to the new schema, but also to
take advantage of face-to-face discussions with one another and tackle
CCO specific business. The CCO specific business includes developing a
three-year strategic plan for implementing CCO practice among
contributors o
f cultural and natural history collections to union catalogs and
digital repositories. The strategic planning and dissemination meeting
will take place on November 15, 2008 (concurrent with the Museum
Computer Network (MCN) annual conference) in Washington, D.C.
Part II of this endeavor is to work on how best to integrate CCO with
this new schema and standards-based model, especially in how it will be
implemented by vendors, or work in conjunction with existing standards.
For CCO, this would entail making portions of the printed Guide more
accessible through the CCO Commons web site, and to develop prototype
online training tools on how to use the guidelines in conjunction with
these new and existing standards. These prototypes may be used in other
training contexts in the museum and visual resources community (e.g.,
the ARLIS/VRAF Summer Educational Institute for Visual Resources and
Image Management). A representative from the Summer Institute Advisory
Group will be attending the meeting as part of the CCO representation.
The mission of the Visual Resources Foundation is to advance knowledge
in the field of visual resources and image management and to provide
educational and training opportunities in support of broad access to
cultural information in the digital age. The Foundation advances
awareness of important issues for digital information management;
encourages the application of professional standards, innovative
technology, and metadata cataloging protocols; facilitates workplace
training; and promotes awareness of intellectual property rights and
copyright issues. The VRA Foundation supports a range of educational
offerings to help ensure that such information reaches a diverse and
global audience. Additional information is available at
http://www.vrafoundation.org
The Getty Foundation provides support to individuals and institutions
committed to advancing the understanding and preservation of the visual
arts locally and throughout the world. Through strategic grants and
programs, the Los Angeles-based Foundation strengthens art history as a
global discipline, increases access to collections, promotes the
interdisciplinary practice of conservation, and develops current and
future leaders in the visual arts. The Foundation fulfills the
philanthropic mission of the J. Paul Getty Trust, an international
cultural institution devoted to the visual arts. Additional information
is available at http://www.getty.edu/foundation
For more information about Cataloging Cultural Objects, contact the CCO
co-chairs, Elisa Lanzi at elanzi at email.smith.edu or Ann Whiteside at
awhites at mit.edu.
CCO http://www.vrafoundation.org/ccoweb/index.htm
CDWA-Lite
http://www.getty.edu/research/conducting_research/standards/cdwa/cdwalite.html
Museum-dat http://www.museumdat.org/index.php?ln=en
Museum Computer Network http://www.mcn.edu/
ARLIS/VRAF Summer Educational Institute for Visual Resources and Image
Management http://www.vraweb.org/seiweb/
VRA Core 4.0 http://www.vraweb.org/projects/vracore4/index.html
Regards,
Elisa
Elisa Lanzi
Director, Imaging Center
Smith College Dept. of Art
Hillyer Hall
22 Elm Street
Northampton, MA 01063
VOICE: 413.585.3106
elanzi at email.smith.edu
FAX: 413.585.3119
http://www.smith.edu/imaging
------------------------------
Message: 4
Date: Thu, 30 Oct 2008 09:30:56 -0400
From: "Benjamin Bailes" <[email protected]>
Subject: Re: [MCN-L] A summary of the Google Books Search settlement
To: <mcn-l at mcn.edu>
Message-ID: <s9097ee2.096 at ENKIDU.morganlibrary.org>
Content-Type: text/plain; charset=US-ASCII
I will be out of the office from October 30 - November 4. I will answer
email messages when I return.
If you require immediate attention, please contact Josh Feldman
jfeldman at themorgan.org or x346
Thanks.
Benjamin Bailes
------------------------------
Message: 5
Date: Thu, 30 Oct 2008 12:29:35 -0400
From: "Eve Sinaiko" <[email protected]>
Subject: Re: [MCN-L] photography, digitization, and a color/grey card?
To: "Museum Computer Network Listserv" <mcn-l at mcn.edu>
Message-ID:
<D03BE87B8D1FC24590CE92F3C94D856B172E84 at mailserver.collegeart.org>
Content-Type: text/plain; charset="iso-8859-1"
> With apologies to Eve, please consider the following:
>
> Regarding the second part of her email; If your budget allows you to
use a
> good commercial printer who has printed art publications before, you
will
> have exceptional results from an entirely digital workflow. True, we
rarely
> see press-proofs any more, but that is due to the fact that color seps
and
> printers have been able to produce very accurate guide proofs from
newer
> generation studio printers.
All I can say is that this puts the success of the color printing
entirely in the hands of a pressman who may or may not be paying
attention. It removes all hope of the editor and designer (the people
with real expertise and who really care about the color accuracy) having
any opportunity to intervene and improve color. We cannot require a
printer to improve color if we cannot point to anything to show that the
color is less than accurate.
If museums are comfortable with this, then they should by all means
remove the color bar and grayscale. But the publishers will then be in
an excellent position to say, "Sorry, we printed what we were given." In
my experience, museums expect more attention to color quality on the
part of publishers. Absent a grayscale and color bar, our hands are
tied.
Also, of course, not all publishers work with the top printers, nor
should museums expect that optimum printing conditions will be the norm.
For example, most printers who know color printing well are working for
the ad industry, where color standards are very different (e.g., maximum
color saturation is desirable). There are almost no printers left who
specialize in art printing-and they are mostly in Italy and Japan, which
are beyond the budgets of most art publishers today.
Lastly, newer generation studio printers are great-I hope they get
installed soon. But in the meantime we are in a crucial transition
period in which many (most) publishers and printers are not working with
the latest equipment. I daresay smaller publishers will be in that
position for a long time to come.
> Capture software as well as CMYK printing is moving forward very
quickly and
> at this point has surpassed film, allowing us to control color and ink
> densities like never before.
> Image quality control is far more ?in front of the curtain? now as we
all
> see the images immediately at every point of the workflow. In some
cases
> your printer may provide on-line services, allowing you to soft proof
images
> and make edits on the fly (all before you go on press for quality
control.)
I don't dispute this, and I welcome it. Indeed, color printing has
become less costly as a result. What I worry about is the blithe
assumption that the tech can ensure quality, and that experienced
editors and designers are not needed to take part in the process. In the
past 5 years I have seen a sharp decline in much color reproduction of
artworks because we are working with digital scans that have no visual
guideposts.
Every art publisher I know is distressed at this trend.
Regards,
Eve Sinaiko
CAA
------------------------------
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End of mcn-l Digest, Vol 37, Issue 24
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