A Guide to Media and Formats

Related records

• Media Formats Update Panel Preservation

  Mona Jimenez and Steina Vasulka presented Media Formats Update at the Experimental Television Center symposium Looking Back/Looking Forward on May 31–June 1, 2002; they surveyed tape and deck durability, signal characteristics, format obsolescence and reformatting cycles. The panel discussed specific formats (Beta SP, SVHS, mini-DV, DvCam, DVC Pro, the D family including D-1, Beta SX), optical media and DVDs, and addressed cleaning, playback problems, compression, digitization workflows, server storage and retrieval; BAVC, Visual Studies Workshop and the Grand Rapids Community Media Center were referenced.

• Tape Formats and Hardware - Research and Planning Efforts Preservation

  Compiled directory of research, reference works and online sources concerning obsolete and endangered videotape formats and playback hardware. Entries cite organizations and projects including Experimental Television Center (Video History Project Tools), Independent Media Arts Preservation (resource-guide development), Media Alliance (Magnetic Media Preservation Sourcebook) and Specs Brothers (tape restoration); published references include Ampex, A Guide to Media and Formats (Redwood City, CA: Ampex, 1989) and Murphy, Television and Video Preservation (Library of Congress, 1997); online guides listed include Ampex Virtual Museum, Stauderman's Video Format Identification Guide (AIC Electronic Media SIG), VidiPax, and hardware resources such as AMIA-L, Dave Jones Design and the Dead Media Project.

• The 6th International Video Exchange Directory Bibliography

  Resource guide to tapes, distributors, individuals, publications

• Guide 2 Ohio Media Equipment Bibliography

• Media/Art/Media: Notes Toward a Definition of Form Bibliography

• Stern Media Information Bibliography

  A practicing artist outlines a career from poetry, script and print to multi-media and television, invoking Marshall McLuhan and citing equipment such as the Bolex reflex 16mm, Kodak Carousel, Sony porta-pack and Polaroid SX-70. They place USCO multi-media pieces Hubbub and We Are All One alongside work by Ken Dewey, Carolee Schneemann, Alan Kaprow and the Once Group as experiments in audience overload, multi-channel interaction and associative effects; they reference information theory and Norbert Wiener. They link the rise of an information industry—abilities to assemble, store, index, retrieve and program electromagnetically coded data—to artists working with information as programmable material using processing software and hardware.