According to the Authors Guild, the prospects for the bill to become law are now more promising than they have been at any time since it was first introduced more than two years ago.

The Artist-Museum Partnership Act (also known as the Artists Fair Value Market Deductions Bill) would restore to artists, writers, composers, and scholars the ability to take a fair-market-value deduction for works which they donate to an appropriate non-profit institution. Under current law, although art collectors can deduct the fair market value of works which they donate to a museum or library, the artists who created them can only deduct the cost of the materials which they used to create the works.

"The benefit to the nation, when artists are encouraged to contribute their work during their lifetime cannot be overemphasized. It allows the public, historians, scholars and others to learn from the artist his/her aesthetic intention for the work, how it was intended to be displayed, performed or interpreted and what influences affected the artist," The Association of Art Museum Directors (AAMD) states in a Summary of the Artist-Museum Partnership Act and H.R. 1598, the Artists' Contribution to American Heritage Act. (a similar bill in the House)

Introduced by Senator Patrick Leahy (D-VT) and Senator Bob Bennett, (R-UT) The Artist-Museum Partnership Act stipulates that the donated works of art be created at least 18 months prior to the date of contribution by an artist who has previously publicly sold, performed or exhibited similar works; that the artist obtain a written appraisal of the fair market value of the work by a qualified appraiser; that the use of the work of art be related to the purpose of the institution that receives it; and that the artist can only take a deduction against income earned and related to the art and only against the income earned in the year the gift is made.

"A change in the law would encourage artists to make donations of their creative works to appropriate charitable institutions and also motivate charitable institutions to actively seek contributions of works from artists. The public would benefit by having important creative works available in their institutions. The benefit that would be achieved through the enrichment of charitable institutions by providing an incentive to visual artists, writers and composers to make such gifts cannot be overemphasized," the AAMD emphasizes.

The CARE Act to which the artists deduction bill was amended is S 1924, the Leiberman-Santorum compromise on the President's faith-based initiative. It emerged from the Senate Finance Committee on June 18. According to OMB Watch, in its main portions, The CARE Act creates new incentives for charitable giving and specifies equal treatment of faith-based and secular non-profits when applying for federal grants. By doing away with the distinction between direct and grassroots lobbying, the CARE Act also simplifies the rules on lobbying by 501(c)(3) groups which use the expenditure test in the IRS rules.

It is not clear whether the bill will come up on the Senate floor before the summer recess, OMB Watch notes, and they caution that some Senators have raised concerns about the cost of the bill and about whether the revenue raising offsets it contains are sufficient.

Sources/resources:

THE ARTIST-MUSEUM PARTNERSHIP ACT (S 694) -- http://thomas.loc.gov/cgi-bin/query/z?c107:s.694:

AUTHORS GUILD -- http://www.authorsguild.org
The Authors Guild suggests that activists contact their senators and urge them to vote to pass S. 1924, the Charity Aid, Recovery, and Empowerment Act. (the CARE Act) They also urge that House representatives be contacted and asked to co-sponsor H.R. 1598, the Artists' Contribution to American Heritage Act, which would give authors, artists, and composers the same deduction right. H.R. 1598, The House version of the bill was introduced by Representative Amo Houghton. (R-NY) In addition to the CARE Act passing in the Senate, H.R. 1598 will need to be added to the comparable House bill and any differences worked out in conference.
Additional recommended actions are available on the ACTIVE ARTISTS web site at http://www.activeartists.org

ASSOCIATION OF ART MUSEUM DIRECTORS (AAMD) -- http://www.aamd.org
The Summary of S. 694 and H. R. 1598 is available at http://www.aamd.org/hr1598_summary.shtml

"Legislation to Allow Artists, Writers, and Composers to take Tax Deduction for Donated Works under Consideration in Congress"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur071001.html
July 10, 2001

SENATOR PATRICK LEAHY -- http://www.senate.gov/~leahy

SENATOR BOB BENNETT - http://www.senate.gov/~bennett

REPRESENTATIVE AMO HOUGHTON -- http://www.house.gov/houghton

OMB WATCH -- http://www.ombwatch.org

In the mid-nineties an Internationally available World Wide Web platform made global distribution economically and technically feasible for many artists.

Looking forward to greater access to diverse, independently created content for home viewers, we now enter an era where wireless and/or broadband delivery in combination with conveniently sized, seamlessly interfaced, low-priced platforms can potentially make artist- originated film, video, music, art, and literature more widely available in myriad forms -- encompassing both deeply interactive works and works designed for one way delivery.

For instance, last winter the SUNDANCE ONLINE FILM FESTIVAL showcased a selection of new work designed specifically for the web. Twenty-one projects were presented in the categories of animation, live-action, documentary, interactive, new form, and selected shorts; Dance Theater Workshop (DTW) envisions digital video documentation of dance performances as a part of its DTW Digital project; and evolving webzines, such as WIGGED.NET, host artist-created short videos, animations and interactive works.

While individual artists, musicians and writers are creating diverse, art forms hosted the World Wide Web, at the same time -- as composer/inventor/researcher Rich Gold, The Goldographic Research Labs observes -- artists will continue to engender unique distribution approaches.

"While much of the world is thinking about 'convergence', where there will be just a single medium on which all content will be displayed, I believe in a kind of 'anti-convergence.' I think that in the future artists will be able to 'author the medium' as well as the content and that the meaning will be carried by both," predicts Gold, who worked on ubiquitous computing devices as a researcher at Xerox PARC and spearheaded the artist in residence program at PARC.

"The interesting digital revolution going on right now is digital factories that can produce very small quantities of devices, including media, where each one is different," he observes. "What this means is that in the future a murder mystery might be displayed on an interactive knife, while a travel movie might be made for a digital shoe. The meaning leaks between the medium and the content to such a degree that there is no separation."

What do artists who work with computer technology envision they will be working on in the coming years? How do futurists and scholars see the field developing?

Electronic media artist Nancy Paterson predicts that Global Positioning Systems (GPS, a worldwide radio navigation system) have enormous potential as a creative tool. "Since it was declassified by the Clinton administration usage of this technology has really blossomed," she notes. "In addition, first audio, then video, will disappear. The phrase *listening to the radio* refers to RF spectrum which is increasingly no longer used for analog transmissions. People will do the same things in the future such as listen to music and look at videos, but they will think of and describe these activities differently. Passive media is a subset of active media and so interactivity and the media that embraces it, will dominate."

Indeed, this January, Steve Wozniak, the technical visionary and co-founder of Apple Computer, announced the launch of Wheels of Zeus (wOz), a new company focused on designing new consumer electronics wireless products to help everyday people track everyday things. "Recent advances in global positioning software (GPS) systems and antenna technology coupled with the declining cost of processing power and two-way networking make the possibilities for new devices and services really exciting," Wozniak said when the company launched.

Nancy Paterson's work has included HAIR SALON TV (1990) which, incorporating video into hair salon equipment, juxtaposed technological icons of the 1950's with video imagery on issues shaped and distorted by electronic communications technologies; as well as STOCK MARKET SKIRT (1998) in which stock market prices were juxtaposed with skirt length.

In a recent work -- COPPELIA, a short video for the BRAVO channel -- she integrated dance, robotics, and virtual set technology. "I am currently researching automatons and robots along with techniques which I might use to develop an interactive installation utilizing dance and virtual set technology," she told Arts Wire CURRENT. "My interests have moved a little in the direction of dance, AI and robotics."

She is also working on THE LIBRARY, a project which transforms an existing interactive 3D environment from a self-contained experience into a meta-data creative reference tool utilizing dynamic 3D objects. "Metastreaming, sharing interaction with 3D objects over the Internet or through broadband access, will be possible through the combined implementation of an application server and a multi-user server for this project," she explains.

Musician/composer Douglas Cohen observes that in recent years galleries and performance spaces have been opening where sound art can be presented with more than the two channels of sound associated with stereo reproduction, for example, Engine 27 and the Diapason Gallery in New York City. "As a result of this trend, along with the proliferation of surround sound home theater systems and the capabilities of the latest digital audio workstations, it is finally becoming practical for composers to work with the precise location of sound in space."

Cohen has created new music/theater pieces, works for the concert hall, and scores to experimental films. He describes his compositions as exploring "aspects of time and proportion through music that is often simultaneously dramatic and static, and at times of an extended duration."

"What appeals to me, and an area that I have been exploring in my work, is the invention of sonic environments that feel natural to the listener even though they combine elements that are not found in life. Spatial location of sound can also be used to add depth and clarity to a dense and/or complex musical texture," he notes.

Sonic artist David Gamper, comments that The Expanded Instrument System (a continually developing electronic sound processing environment designed to provide improvising musicians control over various interesting parameters of sound transformation) "has been physically shrinking as it expands in its capabilities. But to get small, we had to give up some analog technology and its sound. The keys to getting them back in the next iteration of the performance system will be faster laptops and post-MIDI hi-rez solutions to controlling our live sound transformations."

Gamper collaborates with photographer Gisela Gamper in See Hear Now, a visible music sound and video projection duo.

He added that "I'm also hoping that this will also apply to the video mixing and manipulations that Gisela is using for our collaboration See Hear Now, although that looks to be further off. And if we could just get to wireless speakers or surround sound in every venue..."

Writer and hypertext researcher Cathy Marshall, who in addition to writing electronic literature, has worked extensively in developing hypertext and e-book applications, is exploring creating multimedia work with tools originally intended for business applications.

"Business tools are ripe for literary subversion," she observes. "I have appropriated PowerPoint as the vehicle for a multi-level work that uses found graphics and photographs. The slide show itself is true to genre with pictures and bullets. But PowerPoint allows a separate story to develop below the surface of the presentation: the so-called Notes view is a writing space for a parallel portion of the work, as is the recorded narration or soundtrack. Comments offer minimalist hypertext functionality and an additional venue for multiple voices. Non-linear readings are anticipated by the different views (e.g. the slide sorter) that act as a map for jumping around in the work."

She adds that "While I think it would be fun to use PowerPoint to write a cheap romance, this piece is, in fact, a surreal portrait of working in what Stuart Moulthrop has referred to as the "'Military Infotainment Complex.'"

Marshall also observes another benefit of subverting business software: "Instead of worrying about developing and maintaining more esoteric software for writing and presenting electronic literature, we can ride on the bellies of corporate sharks as remora, taking advantage of institutional pressures for backward compatibility, archival formats, and broad access. "

Looking to the future, artists also seek inclusive and/or approachable avenues in an increasingly technology-driven environment.

"We've become so accustomed to computer-generated art -- from fractals to shiny, ray-raced cartoons -- that the next push in computers and art will be to produce the primitive rather than the high-tech," commented artist/writer/inventor Cliff Pickover whose 21 books have included VISIONS OF THE FUTURE: ART, TECHNOLOGY, AND COMPUTING IN THE NEXT CENTURY (St. Martin's Press, 1994) and DREAMING THE FUTURE THE FANTASTIC STORY OF PREDICTION. (Prometheus Books, 2001) "Let me give an example. In my book CHAOS IN WONDERLAND, a mathematician King asks a self-aware supercomputer a single question 'What would a supercomputer consider as beautiful?' After one month of computation, the supercomputer produced a single picture. It looks like a combination of graffiti-like elements with figures echoing the art of children and primitive societies. In short, it looked like a black-and-white lithograph done by Joan Miro. The King upon seeing the result opens his piezoelectric mouth wide and screams for a whole minute, as his subjects sit silently in rapt attention. They could not ascertain if the King's scream was one of happiness or fury."

"My point," Pickover notes, "is that a return to the primitive may be the wave of the future. Computer-generated and realistic syntheses of cave paintings, such as those in the cave at Lascaux with all their textures, are examples."

Indeed, artist Benjamin Britton, who recently developed a virtual reality work based on the moon landing, has also created a virtual reality environment in which users experience the LASCAUX caves.

Cristine Wang, who this year curated the online exhibition BORDERS as part of MANIFESTA 4, in Frankfurt, Germany -- including, among many other works, Knowbotic Research's CONNECTIVE FORCE ATTACK; Tina LaPorta's BORDER-CAM and Jenny Marketou's TRANSLOCAL: CAMP IN MY TENT -- looks to the Internet as a place of intimate media and social action/interaction.

In "Towards A Social Space On The Digital Network", (presented this February at STRATEGIES FOR ACCESS + MEDIA AUTONOMY IN THE DIGITAL AGE, a panel discussion at Name.Space Lab in New York City) she states:

"The time is now, to break out of the choke hold
of the corporate hegemony, and 'reclaim the net',
and re-affirm its 'sovereign nature'...The time
is now...To assert a micro-politics of resistence
against the broadcast hegemony, and make a
movement towards 'intimate media', a place where
spontaneity, chaos + anonymity rule...A movement
towards an unstructured infosphere, where human
presence in the networks takes to the fore, where
media space becomes the connective tissue of
communities; for the world wide web, one of the
most popular of internet protocols, can be seen
as a two way medium, a network topology of
connectivity and social interaction."

Pointing out that the Digital Divide narrows online expression to that of a dominant culture, Jaishree Odin, an Associate Professor in the Liberal Studies Program of the University of Hawaii at Manoa who has written on extensively on technology mediated forms, seeks a diverse future.

"With so many new writers publishing in the electronic medium, works by writers from diverse cultural traditions, if any, easily tend to get lost in the large volume of such experimental writing. Various electronic cataloguing as well as web publishers need to make a visible space for minority literatures," she writes in "Promoting E-Literature by Ethnic Writers". (an article in this issue of Arts Wire CURRENT)

Red Burns, Chair of the Interactive Telecommunications Program (ITP) at New York University's Tisch School of the Arts, notes the hazards of predicting the future, but she also points out the importance of de-emphasizing a market-driven approach.

"I do believe that much of the research is what kinds of products people will want to buy, and I find that approach deadly," she said. "In the early days of interactive TV the question was what was killer app - in the early days of the Internet it about commercial uses and we saw the quick demise of the dot.coms - have we learned a lesson?"

"At ITP," she emphasizes, "we are interested in what ways technology can enhance the human spirit - that takes an approach that is experimental and exploratory - if we can find ways that technology resonates with people we will certainly have the 'killer app'".

Sources/resources:

RICH GOLD -- http://www.richgold.org

SUNDANCE ONLINE FILM FESTIVAL -- http://www.sundanceonlinefilmfestival.org

DANCE THEATER WORKSHOP -- http://www.dtw.org

WIGGED.NET -- http://www.wigged.net

NANCY PATERSON -- http://nancy.thecentre.centennialcollege.ca/
COPPELIA -- http://www.vacuumwoman.com/MediaWorks/Coppelia/coppelia.html
THE LIBRARY -- http://www.thelibrary2.com

THE WHEELS OF ZEUS -- http://www.woz.com

DOUGLAS COHEN -- http://www.sternklangdogs.net/

ENGINE 27 -- http://www.engine27.org/

DIAPASON GALLERY -- http://www.diapasongallery.com

DAVID GAMPER -- http://www.seehearnow.org/dgamper

EXPANDED INSTRUMENT SYSTEM -- http://www.pofinc.org/EIShome.html

SEE HEAR NOW -- http://www.seehearnow.org/index.html

CATHY MARSHALL -- http://www.csdl.tamu.edu/~marshall/

CLIFF PICKOVER -- http://www.pickover.com

BENJAMIN BRITTON (Virtual Reality environment LASCAUX) -- http://www.uc.edu/profiles/benb1.htm

CRISTINE WANG -- http://cristine.org
BORDERS -- Manifesta 4, in Frankfurt, Germany (as part of "Free Manifesta" by Sal Randolph -- http://cristine.org/borders/

PLACEWARE -- http://www.placeware.com -- develops interactive online conferencing software incorporating virtual environments

JAISHREE ODIN -- http://www.eliterature.org/state/bio-OdinJaishree.shtml

RED BURNS -- http://www.itp.nyu.edu/nuweb/faculty.html

INTERACTIVE TELECOMMUNICATIONS PROGRAM (ITP) at New York University's Tisch School of the Arts -- http://www.itp.nyu.edu/nuweb/index.html

HOSTING DIVERSE WORKS AND APPROACHES - PART II

• In the Contemporary Web Environment, Arts Organizations Play Vital Role in Hosting the Works of Artists
• Rhizome.org Initiates Art Commissioning Program
• "...the most fascinating new medium for writers to appear since the printing press" - Helen Whitehead, TrAce Online Writing Centre
• Farrar, Straus & Giroux Web Site Promotes New Authors With Individual Pages
• MAPPINGS - Programming New Music on Antenna Internet Radio
• "..it's simply important to be a catalyst for the production of contemporary art" -- Steve Dietz, The Walker Art Center
• Dia's Long Running Site Brings Artists who have not Previously Explored the Medium to the World Wide Web
• Copenhagen-based Fotografisk Center Showcases Photographers in THE DIGITAL ROOM
• World Printmakers Provides Online Services for Printmakers
• "I've always been interested in making work that exists outside the traditional art delivery system. The Internet has been such a place...at least for awhile" - Diane Bertolo

"Hosting Diverse Works and Approaches, the World Wide Web Comes of Age as an Artists' Medium and Showcase"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur111301.html
November 13, 2001

At a recent Electronic Literature Organization (ELO) symposium in Los Angeles, professors of English literature and practitioners of electronic literature gathered together to learn from each other. Some marvelous hypermedia works were exhibited which used the potential of electronic media in innovative ways that defy our cherished conventions of reading and writing. The ability of the electronic literature to hold together audio, video and textual elements which can be accessed in multiple ways makes it an effective medium for conveying the experience of minority communities which unfolds at the pressure points of the social and the political. Yet, there were no such works in sight at the ELO symposium.

The main reason for this absence is of course the status of electronic literature, which currently is still on the margins of mainstream literary production, and at present, almost invisible to culturally marginalized literary communities. The use of computers until very recently has been confined to the privileged segments of the population. Lot of innovations in electronic literature so far have been by early adopters of technology who have devoted enormous amounts of time to break into totally new ways of expressing themselves. However, these writers mostly represent dominant groups and their work thus shows a preoccupation with themes that reflect their experience.

A few of these writers have dealt with ethnic experience, but mostly as writers who speak on behalf of the marginalized communities. The literature produced by minority writers, on the other hand, engages in the constitution of minority experience of people, who speak out of their own cultural experience. It is hard to find such hypertext or hypermedia literary works on the Internet.

Several factors are responsible for the lack of broader participation by ethnic writers in the newly emerging field of electronic literature. Firstly, these writers have to surmount the technology barrier in order to create an electronic work, which requires access to a computer, appropriate software, and in the case of web-based fiction or poetry, access to the Internet. Even though there has been a dramatic increase in the ownership of computers as well as access to the Internet, we need to remember that merely having the ability to use the computer for word processing or having access to the Internet is not enough to actually use the medium creatively and exploit its potential to the fullest. Amongst the uninitiated, there is a tendency to think of electronic literature as simply creating a digital home for a linear print text. Thus, there is a lack of awareness of the aesthetic dimensions of the electronic medium amongst writers who stick to the linear format of writing whether they are using pen and paper or a computer. These writers have yet to explore the amazing possibilities provided by mixing media or by writing a hyperlinked work.

In order to promote electronic literature amongst culturally diverse communities of writers, they need to be trained in multimedia literacy, which includes interface design. We also need to create opportunities for dialogue, collaboration and exchange of ideas regarding innovative practices in electronic literature beectronic literature, ranging from self-publication at one's own site or an electronic literature site to peer reviewed publishing opportunities with various electronic literature sites for poetry and fiction. Since none of the sites use the category "minority literature," it is hard to find works that specifically deal with the experience of culturally marginalized communities. Would the name of the writers give a clue? Not always? Which makes one to rely on the work itself to find out whether it depicts the minority experience. With so many new writers publishing in the electronic medium, works by writers from diverse cultural traditions, if any, easily tend to get lost in the large volume of such experimental writing. Various electronic cataloguing as well as web publishers need to make a visible space for minority literatures. Websites representing diverse cultural traditions do exist, but primarily as electronic versions of already published print texts or as works that replicate the linear print mode of writing in the electronic medium. The leading publishers of hypertext and hypermedia literature need to create a space for minority literatures by inviting submission under this category.

(c) 2002 Jaishree Odin - For permission to redistribute this contribution, please contact her at odin@hawaii.edu

Jaishree Odin is an Associate Professor in the Liberal Studies Program of the University of Hawaii at Manoa. She has written on technology mediated forms as well as on the role of technology in re-visioning higher education. Her books include TO THE OTHER SHORE: LALLAS LIFE AND POETRY. (Vitasta, 1999) She is currently working on a book length project -- THROUGH THE LOOKING GLASS: TECHNOLOGY NOMADOLOGY AND POSTMODERN NARRATIVE.

ELECTRONIC LITERATURE ORGANIZATION - STATE OF THE ARTS CONFERENCE April 4-6, 2002 -- http://www.eliterature.org/state/

Powell, the director of the National Gallery of Art since 1992, has a doctoral degree in Art History from Harvard University and is an expert in 19th and 20th century European and American Art. Recent exhibitions under his tenure include TWENTIETH-CENTURY AMERICAN ART: THE EBSWORTH COLLECTION; (2000) O'KEEFFE ON PAPER; (2000) AN ENDURING LEGACY: MASTERPIECES FROM THE COLLECTION OF MR. AND MRS. PAUL MELLON; (1999-2000) and FACES AND FIGURES: DRAWINGS FROM THE ARMAND HAMMER COLLECTION. (1999) Previously, he was director of the Los Angeles County Museum of Art for 12 years as well as holding curator positions at the National Gallery and the Michener Collection at the University of Texas at Austin. His publications include a monograph on the artist Thomas Cole. (1801-1848 - a founder of the Hudson River School)

In a controversy which raised questions about the documentation of Nazi looting of art from Jewish collectors (as well as about the impact of collectors and a violent provenance on how an artist's work is subsequently seen and the impact of private collection-centered exhibition strategies on contemporary art) Powell was criticized for the museum's failure to republish a catalog of the 1990 exhibition THE PASSIONATE EYE. (mounted under the tenure of Powell's predecessor J. Carter Brown) The catalog didn't include the information that paintings by Alfred Sisley, Camille Corot, Edgar Degas and Edouard Manet -- in the collection of Swiss Industrialist Emile Buhrle who sold arms to the Nazis -- had been looted by the Nazis during the occupation of France. However, in 1998 Powell was a member of the Association of Art Museum Directors Task Force on the Spoliation of Art during the Nazi World War II era, and under his tenure the museum worked to document the provenance of its own holdings.

The nomination will be reviewed by the Senate Committee on Health, Education, Labor and Pensions. Senator Edward Kennedy (D-MA) is the committee chairman and Senator Judd Gregg (R-NH) is the ranking Republican member. If confirmed, Powell's term would expire in 2006. He would replace Townsend Wolfe III, Director and Chief Curator of the Arkansas Arts Center.

The National Council on the Arts advises the Chairman of the National Endowment for the Arts on policies, programs, and procedures for carrying out the agency's functions, duties, and responsibilities. Council members are chosen for their widely recognized knowledge of the arts, their expertise or profound interest in the arts and their established record of distinguished service or achievement in the arts.

Sources/resources:

NATIONAL ENDOWMENT FOR THE ARTS -- http://www.arts.gov

For more information about the National Council on the Arts and for a complete list of its members, visit http://www.arts.gov/learn/NCA/About_NCA.html

"Looted Jewish art target of controversy"
MINNESOTA DAILY -- http://www.daily.umn.edu/daily/1997/11/18/news/ap201c.ap/
November 18, 1997

"Statement by Earl A. Powell III, Director of the National Gallery of Art, to the Committee on Banking and Financial Services, United States House of Representatives"
http://financialservices.house.gov/banking/21000pow.htm
10 February 2000

NATIONAL GALLERY OF ART -- http://www.nga.gov

"Arts Community Asks President Bush to Make National Council on the Arts Nominations Who are Integrally Involved in the Arts; Who Represent the Spirit of our Nation's Arts and Culture"
Arts Wire CURRENT -- http://www.artswire.org/current/2002/cur022602.html
February 26, 2002

ROCHESTER, NY -- At the Rochester Institute of Technology (RIT) -- spearheaded by a $2.5 million leadership gift from deaf college graduates Joseph and the late Helen Dyer -- the new Joseph F. and Helen C. Dyer Arts Center showcases the National Technical Institute for the Deaf's (NTID) permanent collection of works by deaf, hard-of-hearing, and hearing artists.

With space for touring exhibitions and an ongoing series of lectures and demonstrations, the Center serves as a multi-use and community outreach facility on the RIT campus.

This Spring the gallery featured PHARAOH'S REALM, "a social landscape and desert pictorial exhibition of Egypt" by Thomas Policano. In Egypt, on a sabbatical to explore contemporary digital photography, Policano -- an Associate Professor who teaches courses such as Digital Media Interactive -- documented life and landscape, using a Nikon CoolPix 990 camera and posting web galleries within days of making the images.

The photographs ranged from the details of people's lives, "social landscapes" of people gathered together, their meals, their families, their conveyances (camel, truck, etc.) at places such as the Bahariayya Oasis; to the starkly beautiful desert landscape of the Sinai Peninsula; to the opulent interior and exterior surroundings of the seaside Dahab Hilton. In the exhibition at the Dyer Arts Center, he displayed the social landscape images in the form of Epson inkjet prints and the desert landscapes in the form of Iris Gleecee prints.

Sources/resources:

JOSEPH F. AND HELEN C. DYER ARTS CENTER -- http://ntidweb.rit.edu/DyerArts/about.html

THOMAS POLICANO -- http://www.rit.edu/~tjpnvc/

BOSTON, MA -- As many educational settings actively incorporate new media in the learning environment, and -- in structures such as distance learning -- the educational environment is entirely determined by new media, The Massachusetts College of Art (MassArt) has initiated Art, Education, and New Media, a new program in its Master of Science in Art Education (MSAE) Program.

"New learning situations are proliferating with the rapid development of new media. These arenas need leadership that encompasses educators who are competent in both theoretical and practical issues of digital imagery, multimedia, distance education, e-learning, and emergent technologies," Christy Park, Faculty Coordinator Graduate Studies in Art Education, emphasizes.

"There are new virtual working models in art that demand changes in traditional curriculum. We are particularly interested in how new media and virtual learning systems can dovetail to the traditional classroom experience and how it can enhance, extend and inspire art making," says artist Jennifer Hall, Faculty and Coordinator Graduate Program, Art, Education and New Media Art Education Department. Hall, who designed the curriculum, will be teaching courses in Interfaces for Learning Situations and The Virtual Classroom.

In the program, artists, educators, designers and education researchers will learn to critique and develop new media projects in educational settings from an artistic point of view. However, they point out in the course description that "The medium is constantly evolving so any definition or description cannot be encapsulated or definitive, and some of the ways that we perceive what computers do or how they should be used in education must come from sources of knowledge about art making, teaching and the world in general." With this in mind the program seeks "a true partnership between understanding the medium and other kinds of knowledge."

The Master of Science in Art Education at MassArt is a 36-credit program which offers specializations in Research or Artist/Teacher. The research program has a pedagogical focus on art, with a culminating written thesis; the artist/teacher program concentrates on studio art and professional field experience, and culminates in an exhibition and portfolio evaluations of the field experience.

Access to state of the art media facilities at MassArt includes multimedia, digital animation, desktop video and smart classrooms where graduate students can take classes, experiment with classroom models, create new media work, and develop new creative laboratory experiences for art education.

The registration deadline is July 1, 2002. For complete details, visit http://babel.massart.edu/arted/newmedia/index-newmedia.html

LOS ANGELES, CA - The UCLA Film and Television Archive has launched an MA degree program in Moving Image Archive Studies.

Developed in collaboration with UCLA's Department of Film and Television and the Department of Information Studies, the new initiative's was partially funded by a three-year development grant from the U.S. Department of Education's Fund for the Improvement of Post-Secondary Education and by a grant from the National Endowment for the Humanities (NEH) for the first two years of the program.

With access to the Archive's extensive motion-picture holdings -- not only from major studios but also from independent films in the Sundance Collection and from major film collections donated by organizations such as the American Film Institute and the Directors Guild of America -- as well as access to an extensive television collection, courses will encompass the history of moving image media, cultural responsibilities of selection and curatorship, access and programming for the public, collection management, cataloging and documentation, and technical aspects of preservation and restoration.

"Moving images are arguably the most pervasive and influential media of the twentieth century. They are at once: art form, historical document, cultural artifact, market commodity, political force and omnipresent part of popular culture," says Steven Ricci, Secretary General of the International Federation of Film Archives. "If we consider the continual growth of media types and outlets, if we pay any attention at all to the rapid expansion of new technologies, such a program is simply crucial to our culture."

For more information about the program, visit http://www.cinema.ucla.edu or contact Lynn Boyden at lynn@ucla.edu

INSEA 31ST WORLD CONGRESS:
INTERNATIONAL CONVERSATIONS THROUGH ART

Fostering the mission of The International Society for Education through Art (InSEA) -- to represent art educators throughout the world -- the INSEA 31ST WORLD CONGRESS will focus on INTERNATIONAL CONVERSATIONS THROUGH ART. "The purpose," the Congress states, "is to give voice to nations' visions of art education as a way to help explore cultural identity. These conversations will explore a variety of themes in art education that highlight regional characteristics and offer the opportunity for dialogue across boundaries."

Keynote Speakers are:

LOWERY STOKES SIMS is Director of The Studio Museum in Harlem. She has also worked on the educational and curatorial staff of The Metropolitan Museum of Art, concluding her tenure there as Curator of Modern Art, and she has published extensively on modern and contemporary art with a special interest in African, Native, Latin and Asian American artists.

KAPILA VATSYAYAN has served on University faculties at Delhi and Banaras. She has also been a visiting professor at the Philadelphia University, Regents Professor at the University of California, Santa Cruz, secretary to the Government of India, and academic Dean and Director of the Indira Gandhi National Center for the Arts. "Her work, as a dancer, artist, educator, scholar, administrator, institutions builder, and a social activist, makes explicit the magnetic field of the arts and their capacity in shaping of individual wills, societal structures and life values," the Congress notes.

MAXINE GREENE is William F. Russell Professor Emeritus in Foundations of Education and Professor Emeritus of Philosophy and Education at Teachers College, Columbia University. She is the founder and director, Center for Social Imagination, the Arts, and Education at Teachers College, and she has been philosopher-in-residence at the Lincoln Center Institute of the Arts in Education for 25 years. Her books include TEACHER AS STRANGER, RELEASING THE IMAGINATION and VARIATIONS ON A BLUE GUITAR.

LAURIE ANDERSON, artist/musician, is described by the Congress as "A tireless explorer at the intersection of art, culture and technology," who "has designed and invented musical instruments, embraced the disciplines of sculpture, dance, mime, photography, written books and scored and starred in film, theatre and video works...." Her works include O SUPERMAN; BIG SCIENCE, and the soundtrack to her feature film HOME OF THE BRAVE. Most recently, LIFE ON A STRING was released last fall by Nonesuch Records.

SHARON SUTTON is Professor of Architecture and Director of CEEDS (Center for Environment, Education and Design Education) at the University of Washington. She has been an Architecture educator since 1975,having held positions at Pratt Institute, Columbia University, the University of Cincinnati, and the University of Michigan where she became the first African American woman in the USto be promoted to full professor in an accredited professional degree program in architecture. A multidisciplinary practitioner, she has been in private architectural practice in New York City, has performed for the Bolshoi and other ballet companies, and has played in such Broadway hits as MAN OF LA MANCHA, FIDDLER ON THE ROOF, and A FUNNY THING HAPPENED ON THE WAY TO THE FORUM.

FEATURED ART EDUCATOR SERIES

The InSEA Congress has invited five respected leaders in the field to develop a picture of arts education and its possibilities and promises for the twenty-first century world. Each speaker will interweave the five conference themes in the context of asking significant questions for the future.

This featured Art Educator Series will be chaired by Al Hurwitz, Professor Emeritus, Maryland Institute College of Art and former President of InSEA, who will introduce each speaker, whose presentations InSEA describes as follows:

"Judith Burton ponders on the need for instructional practices that honor the `life' of personal and cultural experience as it is re-presented in art.

Elliot Eisner invites us to think beyond the traditions of quantitative research and consider new methods of inquiry rooted in the arts.

John Steers considers possibilities past and present that arise from increasing globalization in art education.

Kenneth Marantz challenges us to confront the faddishness in art education and ponders the possibility for change.

Diederik Schonau invites us to consider what we have learned about the world of art education in the past fifty years and wonders about the legitimacy of our continuing belief in the role of art in making a more humane world."

Judith Burton is Professor and Director of the Program in Art and Art Education at Teachers College Columbia University, New York; Elliot Eisner is the Lee Jacks Professor of Education and Professor of Art at Stanford University; John Steers is the General Secretary of the National Society for Education in Art and Design, in the United Kingdom; Kenneth Marantz is currently Honorary Professor of Visual Communication at Columbus College of Art and Design where he helped create The Center for the Art of the Picturebook; and Diederik Schonau has been working at the Dutch National Institute for Educational Measurement Citogroup in Arnhem, The Netherlands. He is currently project manager on teachers' expertise in testing and evaluation in secondary education as well as President of the International Society for Education through Art.

INVITED SEMINARS

In a series of nine invited seminars, invited national and regional groups (representing disciplines of art, art education and culture) will present perspectives on art education unique to their national/regional cultural context, and will reflect the diversity of voices in international art education by highlighting art education from parts of the world that are not often represented in international conferences.

They include:

USA/Nigeria
THE ARTS, ART EDUCATION AND POPULAR CULTURE IN WEST AFRICA AND THE UNITED STATES
Seminar Coordinator: Professor Grace Hampton, The Pennsylvania State University, University Park, PA. Seminar Panel: Dr. Sule Bello, Historian, Writer, Philosopher, Former Director, National Council for Arts and Culture, Abuja, Nigeria; Professor Bernard Young, Art Educator, Arizona State University; Professor Mary Ann Stankiewicz, Art Educator, The Pennsylvania State University; Professor William Kelly, Professor of Theatre, Head of Integrative Arts, The Pennsylvania State University; Host Chairperson: Professor Mariamma Ross, University of Wisconsin, Madison.
"This seminar will consider what African and American students think about the arts, cultural traditions and popular art forms. A panel composed of African and African American artists and arts educators will present recent research on attitudes and beliefs about the arts, as well as on participation in the arts amongst West African and African American students."

Israel
SURROUNDINGS AS A STARTING POINT FOR CHILDREN'S AESTHETIC RESPONSE AND ART MAKING
Seminar Coordinator: Dr. Naomi Jaffe, National Superintendent for Art and Theatre Studies for the State of Israel, Ministry of Education, Tel Aviv. Seminar Panel: Ora Kroll, Regional Supervisor for Art Studies, Ministry of Education, State of Israel; Varda Mayer, Art Instructor, Ministry of Education State of Israel; Ayelet Ganani, Art Teacher, Israel. Host Chairperson: Dr. Mary Alice Arnold, East Carolina University.
"This seminar will challenge art educators to consider ways of helping children to make meaning through making art that draws on their surroundings as a starting point."

Plus Chile - INSTEAD OF ART EDUCATION: THE AESTHETIC OF EVERYDAY LIFE; UK/Finland/Brazil - BEHIND THE SCREEN: DEVELOPMENTS IN INFORMATION AND COMMUNICATIONS TECHNOLOGY (ICT) IN THE ART CURRICULUM; and Taiwan, R.O.C. - TRADITIONS AND INNOVATION: ECOLOGY-BASED APPROACH IN ART EDUCATION.

EXHIBITION PROGRAM

The InSEA World Congress will also present exhibitions highlighting a renaissance in arts education under way in the New York City public schools.

"In recognition of the essential role the arts play in students' growth and development, as well as in growing the economy of our city, arts education has been reintroduced into every school. New York City students come from virtually every country on earth and speak more than 100 different languages. The arts are common ground for students and their teachers and present significant challenges to the provision of continuous high-quality art education. How these challenges are met will be on view at selected venues around the city," the congress states.

The International Society for Education through Art (InSEA) was founded in 1954. The mission of InSEA remains today, as it was then, "commitment to a belief that education through art is a means of individual learning that fosters the values and disciplines essential to living. InSEA seeks, on a worldwide basis, to share experiences, improve practices and strengthen the position of art in relation to all of education and the cultural life of communities."

InSEA has over 2,000 members from more than 80 countries. Through a growing number of affiliate associations from many of the countries represented by the membership, InSEA maintains contact with art educators worldwide. The World Congress is held every three years is based on a continuing belief that education through art is a means of promoting international understanding and cultural cooperation. "We feel proud to invite InSEA back to New York and to Teachers College Columbia University, and the home of its first president."

For more information, visit http://www.tc.edu/insea/overview.htm and http://www.savethedate.com/insea

CompuMentor's TECHSOUP -- http://www.techsoup.org/ -- offers a collection of webpages and services aimed at helping non-profits negotiate hardware, software, Internet and other technology choices.

For instance in a series of articles on hardware, TechSoup outlines hardware needs for non-profits, and provides "A Simple Guide to Buying Computers" as well as "What to Look for in a Hardware Warranty" and "Adding Accessories to Your Computer".

A section on software hosts in depth information on choosing Software, including a guide to Discounted Software Programs.

A collection of Internet information articles includes "Choosing the Best Internet Connection"; "An Introduction to DSL"; "An Introduction to Cable Connectivity"; and "Wireless Internet Access."

And a section on creating Web presence features "Getting Your Website Noticed by Search Engines"; "The Stages of Site Development"; A Guide to Building Accessible Web Sites"; "Designing Your Website for the Disabled"; and "Planning a Database Driven Web Site."

Complete information on Recycled Hardware is also available, and CompuMentor and Microsoft Corporation are collaborating in an effort to raise consciousness around the need for computer recycling. "We hope to help consumers understand the process of properly donating computer equipment, and also to help nonprofits understand when to accept equipment and when to refer donors to recyclers or refurbishers. Donated computers are a wonderful national resource, but we should all be aware of making them available in ways that make sense to recipients," they state.

Additionally, the DiscounTech section of TechSoup, offers discounted software for a small handling fee. (Note that much of the software currently available is Microsoft applications.) For complete information, visit TECHSOUP at http://www.techsoup.org

Opportunities for Artists

Seeking to connect established artists to the extensive science-technology resources at Carnegie Mellon, the STUDIO for Creative Inquiry in the College of Fine Arts at Carnegie Mellon University hosts artist in residence from across the spectrum of all the arts.

Resident artists engage contemporary science-technology as it provides tools, media, and content to their work; assume leadership roles in generating and implementing complex, collaborative projects; and connect the process of the projects and its results to the larger community. They initiate projects and develop collaborative teams with faculty-researchers in the science, technology, and social sciences departments at CMU.

The STUDIO for Creative Inquiry is currently accepting proposals for projects that do not require full funding by the STUDIO. These proposals should be submitted at least 6 months in advance of the desired residency period. Artists requesting these guidelines will also be placed on a mailing list to receive a call for proposals when the next fully funded residency program is in place.

For complete details, visit http://www.cmu.edu/studio

WIGGED.NET -- an evolving Webzine focused on bringing innovative short videos, animations and interactive works over the Internet -- is seeking innovative and experimental video, animation and net art.

For details, visit Wigged.net at http://www.wigged.net
Go to the "submit media" page to fill out their on-line registration form and send materials.

The deadline for Wigged's September-December, 2002 issue is July 15.

Details about these and other opportunities are available on Arts Wire's Web Site at http://www.artswire.org/current/calls.html
To submit "calls" for either artists or organizations, send email to jmalloy@nyfa.org

Deadline: June 30, 2002, Dramturg/Writer and Assistant Producer for a movement based theater piece, TO BE PRESENTED AT NY INTERNATIONAL FRINGE FESTIVAL, August, 2002

Deadline: July 14, 2002, Experimental video work, THE SHORT VIDEO SHOW, DACTYL FOUNDATION FOR THE ARTS AND HUMANITIES, New York, NY

Deadline: July 22, 2002, Public artists, design professionals, COLLABORATE ON IMPROVEMENTS TO A HEAVILY TRAVELED INTERSECTION IN THE BUCKINGHAM NEIGBORHOOD, Arlington County, VA/DC area

Deadline: September 23, 2002, Artists who are actively involved in using computer technology to create works in any medium and aesthetic discipline, DPI2002, W. KEITH AND JANET KELLOGG UNIVERSITY ART GALLERY OF CALIFORNIA STATE POLYTECHNIC UNIVERSITY, Pomona, CA

Deadline: October 1, 2002, Contemporary work that will contribute to a dialogue about the state of the western ranch in the 21st century, ART OF THE NEW WEST, THE DAHL ARTS CENTER, Rapid City, SD

Deadline: Ongoing, Poems on 9/11 or subsequent reflections on it, POETRY ANTHOLOGY ON 9/11

Deadline: July 1, 2002, Presentation Proposals on art-sci collaborative projects, 4TH INTERNATIONAL ART-SCI SYMPOSIUM, NYC

Deadlines: various: July- Sept, 2002, Public Artists, KING COUNTY PUBLIC ART PROGRAM, Washington State

Deadline: July 17, 2002, Artists - all media, Exhibition: THE AMERICAN DREAM, MASTERPIECE ALLEY GALLERY, Takoma Park, MD

Deadline: August 1, 2002, Performance Art Works - focus on Canadian artists, FIVE HOLES REMINISCENT, FADO, a simultaneous ensemble of events to be held in the summer of 2003, Toronto, Canada

Deadline: August 1, 2002, (deadline extended) Student Films, 911 BEFORE, AFTER, AND IN BETWEEN, The INFO/TECH/WAR/PEACE project, WATSON INSTITUTE FOR INTERNATIONAL STUDIES, BROWN UNIVERSITY, Providence, RI

Deadline: August 17, 2002, Digital Printmaking, DIGITAL'02 ENVISIONING TIME, SPACE, AND THE FUTURE, ASCI, NYC

Deadline: October 1, 2002, Film and video works that address issues and themes of particular interest to LGBT (lesbian, gay, bisexual, transgendered) community, TUCSON LGBT FILM FESTIVAL, March 6-9, 2003, Tucson, AZ

Details about these and other jobs are available on Arts Wire's Web Site at http://www.artswire.org/current/jobs.html

To submit jobs to Arts Wire, email them to joblist@nyfa.org Please send a text file in the body of the message. (ie no attachments and no HTML) There is no fee for posting job listings. The deadline is Friday for the next week's listings. (which usually are posted on Monday) For the most part, job listings are not edited. The contents of the postings are the responsibility of the originating agency. ool, (Washington, DC)

FACULTY DEVELOPMENT CER, Children's Studio School, (Washington, DC)

ART HISTORIAN, The Art Loss Register, (New York City, NY)

BILINGUAL ACTORS, Trickster Theater, (New York City, NY)

SCRIPTWRITER - SPANISH/ENGLISH, Trickster Theater, (New York City, NY)

ASSISTANT EDITOR, Dramatics, The Educational Theatre Association, (Cincinnati, OH)

GALLERY DIRECTOR, Houston Center for Contemporary Craft, (Houston, TX)

PRODUCTION MANAGER, MASS MoCA, (North Adams, MA)

ORCHESTRA MANAGER, Greater Boston Youth Symphony Orchestras, (Boston, MA)

MANAGER, The Chorus of Westerly, (Westerly, RI)

MANAGING DIRECTOR, Manhattan Ensemble Theater, (New York City, NY)

CHORUS MANAGER, (part-time) The Dessoff Choirs, (New York City, NY)

COMPANY ADMINISTRATOR, Chautauqua Opera, (Chautauqua, NY)

PROGRAM MANAGER, Young Audiences of North Texas, (Dallas, TX)

THEATRE MANAGER, The Hamptons Int'l Film Fesitval, (E.Hampton, NY)

DIRECTOR OF DEVELOPMENT, Portland Symphony Orchestra, (Portland, Maine)

DIRECTOR OF MARKETING, Brooklyn Academy of Music, (Brooklyn, NY)

PROGRAM DIRECTOR, PLANNING AND ORGANIZATION DEVELOPMENT, Emc.Arts, LLC, (New York City, NY)

PROGRAM DIRECTOR, ASSESSMENT AND EVALUATION, Emc.Arts, LLC, (New York City, NY)

DIRECTOR OF DEVELOPMENT, Sun Valley Center for the Arts, (Sun Valley, Idaho)

THE DEVELOPMENT MANAGER FOR INSTITUTIONAL GIVING, Lower Manhattan Cultural Council, (New York City, NY)

THE DEVELOPMENT MANAGER FOR INDIVIDUAL GIVING AND SPECIAL EVENTS, Lower Manhattan Cultural Council, (New York, NY)

GRANT WRITER -- Part-Time, d.u.m.b.o. arts center, (Brooklyn, NY)

COLLECTIONS DEPARTMENT REGISTRATION ASSISTANT, Frank Lloyd Wright Preservation Trust, (Oak Park, IL)

RESEARCH CENTER REFERENCE ASSISTANT, Frank Lloyd Wright Preservation Trust, (Oak Park, IL)

TEMPORARY/FREELANCE GRANT WRITER, TEMPORARY IN SPECIAL EVENTS, Carnegie Hall, (New York, NY)

DIRECTOR OF ADMINISTRATION, Landair Project Resources, (New Jersey)

EXECUTIVE ASSISTANT, The American Music Center, (New York City, NY)

CONCERT SERVICING, (Classical music artists management) (New York City, NY)

OFFICE/DATA MANAGER, Sculpture Space, (Utica, NY)

ADMINISTRATIVE/EXECUTIVE ASSISTANT, Arts Council Silicon Valley, (San Jose, CA)

EXECUTIVE ASSISTANT, Shirley Herz Associates, (New York, NY)

OFFICE MANAGER & CLIENT PARTNERSHIPS ASSISTANT, Emc.Arts, LLC, Principals Richard Evans and John McCann, (NYC Office)

RECEPTIONIST/GALLERY ASSISTANT, (New York, NY)

MARKETING ASSISTANT, The American Repertory Ballet/ARB's Princeton Ballet School, (New Brunswick, NJ)

BOOKKEEPER/PAYROLL ADMINISTRATOR, American Repertory Ballet/ARB's Princeton Ballet School, (Brunswick, NJ)

THIRTEEN/WNET - GREAT PERFORMANCES -DANCE IN AMERICA INTERNSHIP, (New York City, NY)

INTERNSHIP, Manhattan Ensemble Theater, (New York City, NY)

Last week's job listings -- including EXECUTIVE DIRECTOR/CEO, Queens Symphony Orchestra, EXECUTIVE DIRECTOR, Arts Council of Greater New Haven, DIRECTOR OF FILM PROGRAMS, JCC in Manhattan, GRANTS MANAGER, Vermont Arts Council, (Montpelier, VT) DEVELOPMENT ASSISTANT, Alvin Ailey Dance Foundation, (New York City, NY) SUMMER INTERNSHIPS, Education Department, Jersey City Museum, among many others -- are also available are at http://www.artswire.org/current/jobs.html under LAST WEEK'S JOB LISTINGS.

A growing list of links to job resources for artists and arts administrators is available on Arts Wire's Web Site at http://www.artswire.org/current/jobres.html

A consortium -- which includes the Berkeley Art Museum and Pacific Film Archive (BAM/PFA), the Solomon R. Guggenheim Museum, the Walker Art Center, Rhizome.org, the Franklin Furnace Archive, and the Cleveland Performance Art Festival and Archive -- is working to outline a comprehensive strategy and model for documenting and preserving variable media works, such as performance, installation, conceptual, and digital art.

"Works of variable media art, such as performance, installation, conceptual, and digital art, represent some of the most compelling and significant artistic creation of our time. These works are key to understanding contemporary art practice and scholarship, but because of their ephemeral, technical, multimedia, or otherwise variable natures, they also present significant obstacles to accurate documentation, access, and preservation," the Consortium states.

The project's goals include:

• Selecting and documenting one or two variable media art works from each partner collection to use as case study/ies for the project;

• Organizing three professional conferences, open to the public, that build on the momentum created by the PRESERVING THE IMMATERIAL symposium at the Guggenheim in 2001 in order to engage a broad community of artists, museum professionals, and computer scientists in collaboratively developed and shared strategies;

• Publishing (both in print and online) A GUIDE TO GOOD PRACTICES IN DOCUMENTING AND PRESERVING WORKS OF VARIABLE MEDIA ART, for artists, collectors, and museums.

• Because works of digital art are often designed to run on hardware and software which can (or already has) become unavailable, the project will also bring the computer science and digital art communities together with the goal of developing an experimental computer emulator on which case study digital artworks will be tested to measure the potential for emulation in helping to preserve digital works of art.

  "The emulation strategy proposes to answer the question of how to run current software and documents authored in the original software (such as works of digital art) on distant future computer platforms. Emulation proposes to create emulators, software applications written for future computer platforms which instruct a future computer to behave as if it were an older model, thus allowing the future computer to run old software and old files," the project explains. "The emulated works will then be presented to the original artists and the public to measure the results."

Sources/resources:

ARCHIVING THE AVANT GARDE DOCUMENTING AND PRESERVING VARIABLE MEDIA ART -- http://www.bampfa.berkeley.edu/ciao/avant_garde.html
The Project seeks input from others involved in archiving and preserving digital media

CONCEPTUAL & INTERMEDIA ARTS ONLINE -- http://www.bampfa.berkeley.edu/ciao

VARIABLE MEDIA INITIATIVE -- http://www.guggenheim.org/variablemedia

National Initiative for Networked Cultural Heritage
GUIDE TO GOOD PRACTICE IN DIGITIZING CULTURAL HERITAGE -- http://www.ninch.org/programs/tools.html