The sudden surge of new presentation models exposes an urgent need to formalize standards for streaming and other types of online presentation for the media arts sector.
To address these issues, IMAA engaged in a national conversation with media artists, arts service organizations, media arts festivals and independent distributors, galleries, and other presenters. This project took place in 2021.
Intellectual Property and Online Presentation: Guidelines and Resources for Media Arts Presenters
With a focus on equity and transparency, this guide presents the legal framework for intellectual property, the challenges it presents, and Indigenous perspectives on the subject. This document includes:
Contracts Checklist between media arts presenters and artists or copyright holders
IMAA recommends that presenters and artists (or copyright holders) enter into agreements via signed contracts. A signed contract is the clearest way to record the terms of an agreement. This resources includes:
What “equity through accessibility” might mean in the context of your activities. This resource was developed to raise awareness of questions related to accessibility and online presentation. This document includes:
Online Presentation Workflow: Resources for the Media Arts Community
Online presentation initiatives involve a range of technology solutions, from ready-to-use platforms to custom-built websites and digital tools. This resource was developed as a map to help media arts presenters navigate the online presentation process. You will find in this document a series of questions and items to consider:
Online Presentation Workflow chart
Simplified, graphical representation of the Online Presentation Workflow document.
The IMAA Fee Schedule recommends fees for screenings and audio presentations, exhibitions, professional fees, educational use of media art works, and print reproduction of film/video stills in both in-person and online contexts.
Glossary of Terms: Online Media Arts Presentation Standards
This glossary presents terms related to Accessibility, Intellectual Property and Copyright, the IMAA Fee Schedule and Technical Vocabulary for online presentation.
External Resources: Online Media Arts Presentation Standards
This directory provides external resources about online presentation.
As part of this project, the following consultation activities were also organized:
The groups met regularly in the spring and summer of 2021 to support research, discuss best practices, and provide feedback on draft documents. These groups were formed through a call for applications and by invitation.
Expert presentations were organized to complement group discussions.
The online presentation and distribution of media artworks challenge existing models for the remuneration of artists and raises specific issues related to intellectual property.
This working group was directly involved in the development of the IMAA 2022 Fee Schedule, Intellectual Property and Online Presentation: Guidelines and Resources for the Media Arts Community and the Contracts Checklist.
Putting into practice accessibility-driven values – offline and online – is an ongoing process in which the media arts community is engaged. This group focused on the development of a common understanding of what is meant by accessibility and how this translates into online presentation practices.
This working group was directly involved in the development of the document Towards Accessible Online Presentation Models: Introduction and Resources for the Media Arts Community. It is also important to note that many members of the group self-identify as being part of D/deaf and disability communities.
Digital technology changes the playing field for media arts presenters and distributors, providing multiple new ways of disseminating work and reaching audiences. However, from a technical point of view, online presentation comes with its own set of issues.
This working group was directly involved in the development of the document Online Presentation Workflow: Resources for the Media Arts Community.
The advisory committee defined the main orientations of the research and its members act as a liaison with their organizations and communities to publicize the project’s activities.
Translation and French linguistic revision
Coop l’Argot
Specialized linguistic revision
Cara Eastcott, George Azzaria, Maxime D.-Pomerleau, Véro Leduc and members of the working groups.
Moderators of the first round table
Anyse Ducharme, Genne Speers, John Blouin, Madeleine Piller, Roxane Halary et Stéphanie Lagueux.
Special thanks
Many people have accompanied this project with their advice and generosity.
Aaron Zeghers, Barb Taylor, Hélène Brousseau, Isabelle L’Heureux, Josée Plamondon, Laurence Parent.
The Independent Media Arts Alliance (IMAA) is a member-driven non-profit national organization working to advance and strengthen the media arts community in Canada. Representing over 100 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
We acknowledge the support of the Canada Council for the Arts, Archive/Counter-Archive, and Simon Fraser University.
We also thank the supporters of this project.
Artists and art organizations need to connect with audiences. Today, the easiest methods are creating content for computer, tablet and phone, or sharing content on social media. With the growth of device types and internet speed there are many more places content can reach. Audiences would like to connect to content when they want it, how they want it and where they want it. As a result, artist digital content needs to be formatted to reach all these places.
The increase in types of devices such as smart watches and speakers, digital content aggregators and better technology for voice and accessibility means that content can be accessed through expanding means. The development of 5G worldwide will mean that even more data can move faster across available pipelines. On the flip side, there are still places in Canada with little or no internet connection, especially rural areas. Some Canadians access the internet at the library.
In this resource, you’ll learn how to use Search Engine Optimization (SEO), and other best practices to ensure your digital content reaches as many people as possible – including Disabled Canadians. The good news is, the best practice to address both situations is the same: keep content in the simplest form so all can access it. At the end we’ll share some thoughts on what the future will bring and some alternatives to internet giants.
New technology is changing the way audiences consume information, but also increasing the ways in which artists and art organizations can deliver it.
Artists and art organizations are now very dependent on the top search engine in the world Google, along with artificial intelligence, and that raises some issues.
Google was found to have acquired the personal health records of 50 million Americans without their consent. “The forces taking the web in the wrong direction have always been very strong,” www founder Tim Berners-Lee said. Whether you’re a company or a government, controlling the web is a way to make huge profits, or a way of ensuring you remain in power. In Toronto the Google Sidewalk project was cancelled due to citizen’s concerns about data ownership.
Citizens are arguably the most important part of this, because it’s only citizens who are motivated to hold government and business to account. Many people and organizations are concerned about the hold of internet giants. Here’s some examples of what they are doing to create alternatives:
This resource was researched and written by Sage Lovell, Althea Manasan and Barb Taylor. Project team includes Editor Ananda Korchynski, UX designer Althea Balmes, Project Leads Madi Piller of PIX FILM Collective and Barb Taylor of Coyle Films. Special thanks to Alexandra Gelis. Funded by Canada Arts Council Digital Program, this project was initiated by Barb Taylor to share new trends in SEO with artists. Participating organizations include Liaison of Independent Filmmakers of Toronto, PIX FILM Collective and BC Alliance for the Arts. Thanks to our gracious web home IMAA! Special thanks to workshop ASL interpreters Amanda Hyde, Carmelle Cachero and Thurga Kanagasekarampillai.
Why is it important to the media arts and the cultural sector as a whole? On this website, you’ll find everything you’ve ever wanted to know about cybersecurity and cybercitizenship. Enjoy!
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