Case Studies/Digital Fringe - Revision history

CCID-jane at 15:44, 8 September 2010

2010-09-08T15:44:24Z

CCID-jane at 15:43, 8 September 2010

2010-09-08T15:43:40Z

Move page script: moved Digital Fringe to Case Studies/Digital Fringe

2009-09-18T18:55:21Z

moved Digital Fringe to Case Studies/Digital Fringe

Greg Grossmeier at 00:45, 24 June 2008

2008-06-24T00:45:37Z

Rachel cobcroft at 07:11, 28 April 2008

2008-04-28T07:11:23Z

Rachel cobcroft: /* Overview */

2008-04-28T01:08:06Z

‎Overview

Rachel cobcroft at 04:16, 24 April 2008

2008-04-24T04:16:07Z

Emma.carroll at 03:37, 24 April 2008

2008-04-24T03:37:30Z

Emma.carroll at 02:32, 24 April 2008

2008-04-24T02:32:01Z

Emma.carroll at 02:28, 24 April 2008

2008-04-24T02:28:46Z

@@ Line 1: / Line 1: @@
 {{Case Study
 |Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen-based technology in the arts.
 |Mainurl=http://digitalfringe.com.au
@@ Line 5: / Line 7: @@
 |User_Status=Curator
 |Tag=digital arts, technology, festival, exhibition
-|License short name=copyright, PD, various
+|License_short_name=copyright, PD, various
 |Format=Image, Sound, Text, MovingImage, InteractiveResource
 |Country=Australia

@@ Line 1: / Line 1: @@
 {{Case Study
-|Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen based technology in the arts.
+|Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen-based technology in the arts.
 |Mainurl=http://digitalfringe.com.au
 |Author=Melbourne Fringe Festival, Horse Bazaar
@@ Line 9: / Line 6: @@
 |Tag=digital arts, technology, festival, exhibition
 |License short name=copyright, PD, various
 |Format=Image, Sound, Text, MovingImage, InteractiveResource
 |Country=Australia
 }}
 == Overview ==

@@ Line 5: / Line 5: @@
 |Image_Header=http://www.melbournefringe.com.au/season/2006/images/shows/361.jpg
 |Mainurl=http://digitalfringe.com.au
-|Author=Melbourne Fringe Festival and Horse Bazaar
+|Author=Melbourne Fringe Festival, Horse Bazaar
 |User_Status=Curator
 |Tag=digital arts, technology, festival, exhibition

@@ Line 11: / Line 11: @@
 |License=http://creativecommons.org/licenses/by/2.5/au/, http://creativecommons.org/licenses/by-sa/2.5/au/,http://creativecommons.org/licenses/by-nc/2.5/au/,http://creativecommons.org/licenses/by-nc-sa/2.5/au/,http://creativecommons.org/licenses/by-nd/2.5/au/,http://creativecommons.org/licenses/by-nc-nd/2.5/au/,http://creativecommons.org/licenses/by/3.0/,http://creativecommons.org/licenses/by-sa/3.0/,http://creativecommons.org/licenses/by-nd/3.0/,http://creativecommons.org/licenses/by-nc/3.0/,http://creativecommons.org/licenses/by-nc-sa/3.0/,http://creativecommons.org/licenses/by-nc-nd/3.0/
 |Format=Image, Sound, Text, MovingImage, InteractiveResource
-|Country=Australia (includes international content0
+|Country=Australia
 }}
 == Overview ==

@@ Line 14: / Line 14: @@
 }}
 == Overview ==
-Broadcast across the city of Melbourne using screens, projections and the web, Digital Fringe showcases the latest digital art from around the world and features [http://digitalfringe.com.au/?q=node/17 “interactive media shenanigans from a gaggle of local media artists”.]  This web-based digital art festival forms part of the annual Melbourne Fringe Festival and offers established and emerging artists working in the digital medium the opportunity to exhibit their works via site specific digital content streaming.
+Managed by Melbourne digital arts venue [http://www.horsebazaar.com.au/ Horse Bazaar] (renowned for its unique immersive video projection environment), Digital Fringe exhibits its works during the festival in three ways: general stream, interact and the mobile projection unit (MPU).
 The general stream is a continual playlist of digital art projected across a multitude of screens and surfaces in Melbourne.  Locations include galleries, public spaces (such as the Federation Square plaza screen), entertainment and hospitality venues, cyberspace and city iHubs.  The varied nature and extent of the exhibit locations ensure the works are viewed by as large an audience as possible.  In sourcing content, Digital Fringe curators undertake an extensive web-based call out, accepting submissions from digital artists across the globe.
@@ Line 26: / Line 25: @@
 The festival aims to foster avant-garde tech-cultural interactions and embraces the ideological concept of open source and shared culture, knowledge and expertise.
 == License Usage ==

← Older revision	Revision as of 18:55, 18 September 2009
(No difference)

@@ Line 3: / Line 3: @@
 |Quote=The flexibility and accessibility that Creative Commons provides really opens the options for artists about how they want their creations to continue their cultural life.
 |Quote_Attribution=Simeon Moran, Digital Fringe co-producer
 |Mainurl=http://digitalfringe.com.au
 |Author=Melbourne Fringe Festival and Horse Bazaar

@@ Line 32: / Line 32: @@
 At present the uptake of Creative Commons licences by artists on the Digital Fringe website demonstrates an enthusiasm for the licences matched by the Digital Fringe organisers.
-“We think CC is great – there seems to have been a really good uptake from artists submitting works to DF so it obviously is attractive to artists as well” (Simeon Moran, Digital Fringe co-producer)
+:“We think CC is great – there seems to have been a really good uptake from artists submitting works to DF so it obviously is attractive to artists as well” (Simeon Moran, Digital Fringe co-producer)
 It is estimated that around 75% of works have been published under Creative Commons (with 10% selecting all rights reserved copyright and 15% no rights reserved public domain).  The positive response has encouraged the Digital Fringe team to develop future exhibitions to include remix activities, and take advantage of the creative potential facilitated by the CC licences.
@@ Line 42: / Line 42: @@
 Digital Fringe is a fantastic example of how contemporary arts practice can operate in synch with copyright law.
-“Nice work CC – given current technological environment, a lot of arts practice involves remix and cut and paste methodologies and happens anyway - regardless of copyright issues. CC seems to be helping to move the legal structures along in the direction of cultural practice that will continue anyway, and to be formalising a resistance to everything being completely locked down by all rights reserved copyright monopoly. Hooray for the commons! All culture cant be owned for profit. We are all standing on the shoulders of giants...Keep up the good work!” (Simeon Moran, Digital Fringe co-producer)
+:“Nice work CC – given current technological environment, a lot of arts practice involves remix and cut and paste methodologies and happens anyway - regardless of copyright issues. CC seems to be helping to move the legal structures along in the direction of cultural practice that will continue anyway, and to be formalising a resistance to everything being completely locked down by all rights reserved copyright monopoly. Hooray for the commons! All culture cant be owned for profit. We are all standing on the shoulders of giants...Keep up the good work!” (Simeon Moran, Digital Fringe co-producer)