 Good morning again. I guess we can get started. There are a few more people entering the auditorium It's my privilege to welcome you back to the second day of tech focus to Caring for film and slide art generously hosted and co-organized by the Hirschland Museum and sculpture garden as Many of you know the idea of the workshop series tech focus was born out of the Electronic media group of the AIC and received tremendous support from the other institutions a Project like this would not have been possible without additional generous funding I would like to express my sincere gratitude to all the funders and supporters of tech focus to again The Hirschland Museum and sculpture garden the Smithsonian Institution archives the foundation of the American Institute of Conservation The internal Smithsonian Institution's funds from the consortium for understanding the American experience and the consortium for the world cultures Thank you. And of course a big. Thank you to all our tech focus speakers moderators the tech focus to planning committee volunteers and the founders of EMG pharmacy is in the room without our group wouldn't exist and Very big note of appreciation to tech focus coordinator and program share Jeff model But I also would like to express my thanks to Susan Lake who has been an amazing supporter of this event and also is taking care of The coffee and catering and the reception. Thank you Susan another big note of appreciation to Sarah Gordon who has been an amazing supporter of this event to as well as Bob Batley the projectionist in the booth It is great to see you here and to have you here And I'm happy to report that we have international speakers from Seven speakers and participants from seven different countries, namely United Kingdom, Germany, Mexico, the Netherlands Belgium Switzerland and Canada the series of planned tech focus workshop on the preservation and presentation of Electronic art categories started in 2010 with the inaugural tech focus one caring for video art held at the Guggenheim Museum in New York and Acknowledged the 10th anniversary of the groundbreaking tech archaeology symposium that was held as SF MoMA in 2000 which was conceived by the EMG founder Paul Missier and Mona Jimenez who should be also here in the room. Thank you The tech focus series is organized in response to requests that we received from our membership Our EMG members repeatedly pointed out that they struggled to define their role and Responsibility in electronic art preservation at their institution and also the idea was raised earlier by Sarah Stauderman to have us coming together to discuss certain topics in electronic museum preservation and the There is in part a lack of education and research in our field as well as the technical nature of the artworks itself Drive us into challenges to define our roles in our institution And this is also due to an overlap of departmental responsibilities between conservators curators archivists technicians registrars and art handlers Tech focus is meant to bring us all together to contribute and strengthen the education in our field To work towards facilitating a common language and protocols to preserve Electronic art to develop a body of literature and to reach out into a larger group of the professional public During the months of preparation of our true first tech focus workshops There was so there were so many highly motivated passionate and enthusiastic colleagues involved a huge amount of Positive energy was created and we are very excited to now have the opportunity again to share it with you The workshop content today will provide a comprehensive overview of the parameters Endangering or challenging the integrity and film and slide based artworks and will build on yesterday's topics of the technical overview filmmaking process acquisition and creation of exhibition copies of slide and film First we will look into practical aspects of installation and exhibition of slide and film projections This technical knowledge is essential to see how technical decisions and use of equipment influence the image quality The speakers will provide image material and image Comparisons that will help to determine how technical details Translate into the image structure and quality So information that will be provided today will put you in the position to make more technically and aesthetically Informed decision that become part of your collection preservation plan The day will then be rounded up with a school of seeing which will introduce you to a literally eye-opening session of projected images Are you an EMG member yet? If not, please consider Joining us and support our programming and publications by joining us You will receive a free copy of the new by engine all publication the EMG review, which is brand new This publication covers talks that are presented at the EMC session at the AIC annual meeting The electronic media review is distributed as a benefit to our members who helped membership during the respective years of the issue As mentioned yesterday, and I can't do without I would also like to point you to the AIC guide to digital photography and conservation documentation this comprehensive publication covers all aspects of digital photography of works of art and cultural heritage and is written specifically for you for conservators and collection custodians Please find more information on both publications in your folder and thank you to a big Thank you to the editor Jeffrey water We also encourage you to use our attack focus to Facebook and Twitter presence to continue our discussions even beyond this conference Please use this media which are such a great tool to reach out to a light experts in our highly specialized field Thank you, and please now enjoy the second day of tech focus, too It's my pleasure to now introduce Sarah Gordon who is a time-based media coordinator at the Hirschhorn Museum and sculpture garden here in Washington And in her role at the museum She is responsible for the installation maintenance and documentation of all time-based media arts both from the collection as well as loaned works Before coming into this role, Sarah worked at the museum for two and a half years as an art handler She gained valuable experience installing all different tinders of artwork Sarah graduated with a bachelor's of science in arts and management and a minor in art history from the Appalachian State University in Boone, North Carolina Please also allow me to say that she is the one person at the Hirschhorn Museum and sculpture garden That is focusing full time-on-time based media Her responsibilities are spanning a wide range of activities and they're touching also Conservation issues as well as into the registrar's work. Please join me in welcoming Sarah Gordon Thank you Among the various technologies commonly used in time-based media installations 35 millimeter slide installations are unique in that they not only require the media to complete the artwork They also require sequences of specific actions to be performed by the machines that display the media This is in direct contrast with most film and video work in which time is expressed in the media itself and the projection equipment is relatively passive Determining what the final presentation needs to look like and how it should behave is the first step in Selecting which equipment will be necessary Whether you have a show with one slide projector or 20 proper equipment selection is vital to the installation success a Second unique challenge that comes along with working with slide installations Is that the equipment and the slides were typically not created to be used in long-term gallery installations? Nor even displayed unattended for long periods of time To illustrate the extremes to which these machines and media are pushed the Hirschhorn is open for 364 days a year for seven and a half hours a day if you had a full tray of 80 slides and each slide was on view for one minute Then the projector would be completing 163,800 changes per year and each slide would spend more than 34 hours in front of a hot lamp Most of these projectors and for that matter the slides themselves were not designed for that kind of severe use It is up to us for a plan is excuse me It is up to us to plan for this exceptional abuse and preempt any potential problems I'd also like to say up front that this is based on current information and practical experience There are many different ways to address these issues and I look forward to questions and discussion The first step in selecting your equipment Should be determining which family of projectors will best suit your needs since slide works are often decades old Detailed installation specifications may no longer exist if they even did in the first place And if the specifications do exist the equipment may no longer be available Kodak sees production of slide projectors in 2004 and availability of the machines is only getting worse from here on out It's up to us to display the work as closely to the artist's intention using the diminishing resources that are available to us Luckily for now Kodak has an amazing collection of materials available online about all of the slide perfect projectors They manufactured over the years There are also people like Ken Kobolensky at KX camera in Santa Barbara, California Who have an affinity for these machines and keeping them alive in our galleries? I'm going to primarily focus on Kodak's equipment since they were the main manufacturer There are two major families of projectors. They're still around today the actor graphic three and the actor pro The actor graphic three machines are more common and there are many different models in this family since it was in production from 1981 to 2004 I'll speak about them first All of the actor graphic models have a single lamp some have high brightness lamp modules that increase the brightness by 30% You can tell the difference between these by the look of the outside of the machine But also by the color of the module itself It's important that multi-channel installations use the same type of lamp modules across all projectors So that color temperature and brightness match lamp modules that are silver or gray are regular models and black modules are the high brightness variety Like other technologies that use a lamp age hours of use and manufacturing variations have impacts on the brightness and color temperature To some degree it's a matter of trial and error to assemble a set of projectors with lamps that match acceptably The actor graphic comes in manual and autofocus. This varies model to model Some of these machines have a timer that allows you to cycle through the slides that set intervals Which can be useful if you have a full tray of 80 slides or a piece that allows for blank sides to be projected These projectors also have a seven pin connection for dissolve units and a five pin connection to be used with a remote This wired remote almost always offers forward and reverse of the slide tray and some offer focus buttons But that's the extent of their functionality. There's also a smaller eight pin special application receptacle Which allows home tinkerers to create their own controls Codex website has a wiring diagram for this input The second major family of projectors is the ecta pro and it has a whole new set of features Introduced in 1991. This is the most modern line of projectors to be manufactured and like the rest of codex line production ceased in 2004 This family is a more sophisticated and robe of robust evolution of the ecta graphic This is immediately obvious to even the untutored observer simply based on the number of control buttons input options and general look of these machines Where the ecta graphic had one or two motors the ecta pro has four microprocessor controlled motors Making them generally more reliable and more repairable All of the ecta pro models have a return to zero function where if the carousel is less than half full After it is run through all the slides the machine will automatically rewind and return to the home position to start the show over Like the ecta graphics the ecta pro also came in manual and autofocus and Has a built-in timer But unlike the ecta graphics the ecta pro offered models that have dual lamp modules Where you can choose to have the high brightness of two lamps or use one as a backup that will automatically power on if the first lamp Is no longer functioning The final ecta pro model made before production stopped was the 90 20 Both the earlier 70 20 and 90 20 models have built-in dissolve functions allowing you to program several projectors to work together To dissolve one image into the next These projectors also have an RS 232 in and out which allows a computer to be connected to Control fade dissolve an overlap of up to 16 Projectors simultaneously. You can also use these inputs to daisy chain multiple projectors Ecta pros also allow you to choose between a cabled remote and an infrared remote control Much like the sort that you use for your home television The remote requires the use of a receiver which would have been sold separately from the projector The receivers can also be connected using an extension cord So if you want to control multiple projectors with one remote, you just need to place the receivers near each other On codex website, you can find a list of the commands to program the projectors using your remote control Once you have determined which type of projector you'll need the selection of a lens is a bit easier and probably more familiar to you As it is similar to selecting a lens for any other sort of projection equipment Lens selection is determined by your required screen size and the constraints of the gallery that you are working in Helpful to have on hand is a lens chart, which is also available on the codex website If you know two out of the three constraints, you can always figure out the third For example, if you know that your image needs to be I know it's really tiny six feet On its longest side and you have 120 millimeter lens, then you'll know that your throat is thin should be 21 feet Keep in mind that you always want to be working with the longer dimension of your screen Whether your slide is oriented portrait or landscape Lenses are referred to by their focal length usually measured in millimeter But can also be measured in inches to compare. It's as simple as converting the inches to millimeter or vice versa There are also curved lenses and flat lenses In most instances these days we will want to use a flat field lens With a cardboard or plastic mounted slides a curved lens should be used if you're projecting open mounted slides Which you most likely won't be running into Anything less than a hundred millimeters is typically considered a wide-angle lens and can be used to create a larger image with a shorter throw Distance and I think over a hundred millimeters is considered a telephoto lens useful for long throw distances like what we're using here in the auditorium One thing to keep in mind is that different manufacturers lenses while they may be the same size will most likely have different effects on The color of your projected image, which Jeffrey touched on yesterday There are basically three lamps that you have to choose from whether you're using an ecta graphic or an ecta pro machine They're all 300 watt 82 volt lamps with round bi-pin ceramic bases and built-in mr. 13 type mirror reflectors The first bulb the fhs is most likely what you will be selecting for an installation because they have the longest life at 72 hours Note that 72 hours is only nine days if a projector is on for eight hours per day So you'll be going through a lot of lamps by in bulk The next lamp option is the EXR and while it's 15 percent brighter than the fhs. It has half of the life If you need a lot of brightness there is the EXW which is 30 percent brighter than the EXR But is rated for less than half the life of the EXR The lamp can potentially melt slides So if they are projected for more than a minute at a time you might want to keep an eye on them If you're throw distance is very far you might consider the EXW But you should consult a conservator about the effects the effects this might have on your slide At the Hirshhorn we tend to use the fhs lamp and in combination with our hours of operation I change out the slides every two to three weeks However in some extreme cases like that of Giovanni's and Salmo's Invisible where one slide is projected some continuously for the entire day. We may switch out the slides weekly because of fading It's also important to remember that when you are changing the lamp You must not touch the inside of the lamp where the reflectors are because the oils from your fingers Will make the lamp life much less and will potentially blow the second you turn the projector on Synchronizers or dissolve units are tricky and depending on how old you are you may have personal experience with them that greatly exceeds my own Dove is a big name in the slide control business or at least they used to be Produced in the 80s by the company audiovisual laboratories or AVL They use a programmable language called pro call which stands for programmable computer audiovisual language library The pro call produces cues called a positrack that are then hidden in a channel of music playing from a stereo tape deck You would use one channel to play music if your piece has sound and the other to direct the dove unit Which would then control up to four ectographic projectors There are several different types of cues created by this language and the type of cues your program has will determine Which dove unit you can use? Finding people who still have the knowledge and the machines required to write new pro call and convert it to audio tracks is all But impossible I have only used the dove x2 unit and have been told that they are the most reliable of all Currently on the second floor in Super Sensorial the work by Helio Otisica and Neville DM Almeida trash escapes is a two projector installation with a soundtrack that is being controlled by a dove x2 The soundtrack which is on a CD already has the cues recorded in the right channel So the setup looks something like this The left channel comes out of the player in a split Using an RCA Y cable and goes through both channels of a standard stereo amplifier and out to the speakers The right channel connects to the dove unit with an RCA and two projectors are connected to the dove Using a seven pin connection Here's what the positrack on that piece sounds like Prepare yourself Sorry If you are not tied to a pre-16 dove program or have time and information needed to recreate the cues I've been advised to use the Ariane show wizard digital audio presentation system and live the dove controller This system more easily integrates with today's technology or at least something closer to today's technology It allows you to create an mp3 file on a flash card to synchronize the soundtrack while controlling up to 16 machines When you are selecting equipment for a multi-channel installation You will typically want to ensure that your machines are identical piece for piece This means checking lamp modules to ensure that they are all either high brightness modules or regular modules You can see here in this diagram the path that the light takes through the lamp module of an ectopro machine From the lamp the light hits a dichroic mirror where some of the infrared light is absorbed decreasing overall heat output and Resulting in a wider light After that in non-high brightness modules you will find a heat absorbing lens and in high brightness modules You won't From there the light travels through the condenser lens Which takes the light and focuses the beam through the gate and the slide out of the lens onto the wall All of these components can have effect on the look of your image You want to have all new lamps to start and also plan to change your lamps at the same time on a schedule to avoid unwanted out outages during gallery hours Here I typically change my lamps every Friday, so we were less likely to have an outage over the weekend when our response time Is slower because no one's here During the course of the show, you'll need to maintain the projectors Dust is another major issue Ectopro side trays have plastic tops that help to keep slides clean so when I can I try to use those You'll need to clean the projectors every few days to keep the dust down Kodak recommends that you use canned air a lens cloth Lens cleaner and a soft brush to clean out the machines. I go a step further and use an electronics vacuum to get all the dirt The slides themselves get extremely dusty very quickly These are relatively easy to clean But as they are the primary media and they must be cleaned so frequently if you are not trained in conservation You should be checking with your conservator about best practices in order to avoid damaging the slides Usually I clean the slides using canned air making sure not to let any condensation spray onto the slides Another issue you may run into is your autofocus not working One of the main causes of this is a cracked reflector in one of the lamps So the first thing to try is changing the lamp if that still doesn't work pull out the lamp module and check the alignment of the condenser lens Which must be perpendicular to the mount and can easily move out of place especially during shipping between the fan rattling excuse me Another issue I've run into is a very noisy machine between the fan rattling and the slide tray vibrating The fan while difficult to clean without taking the machine apart is important to keep fairly clear of dust a quick pass with The vacuum should do the trick for a noisy tray some weights on top should remedy the situation Finally there is the human factor We have sometimes modified machines to make their controls less tempting or less accessible to visitors by removing their buttons Replacing plexiglass covers over them if your projector must be installed on a low pedestal that is accessible to the public Expect that they will touch it and make your installation resistant to tampering Long-term care of these machines may prove to be tricky Replacement parts are difficult to come by and there are people but there are people who are making stand-ins ectographic machines refurbished, excuse me Range between Range between a hundred and fifty to five hundred dollars and ectopro is between five hundred to a thousand depending on the model While you can source items on eBay you must take into account I don't sorry this goes out completely You must take into account that you are not purchasing support when you do that and that if things go wrong You will be on your own There are a few specialists out there like Ken at KX camera who back up their work and are happy to assist as much as they can in keeping These machines working in working condition for many years to come these few remaining old-timers are Also a treasure trove of information about these products I would like to reiterate and thank my main resources of invaluable information for this presentation Codex website Ken Kobolensky at KX camera and Stephen Mickelson a multi-image slide programmer. Thank you Yeah, I'll say any questions. Hi, I just was wondering whether you ever use glass-mounted slides It looks like the slide that you showed Was just the film in the carrier. Yeah, I haven't run into glass-mounted slides here I don't know if I would rule it out in the future. I don't know if anyone have you guys run in. Yeah Jeffrey saying he has Glass-mounted slides read Yes, we haven't had any that I know of I haven't installed any I didn't look into those if they are It's still producing Does anyone else know who is still making them? I think we're going to give you a microphone. I think it's on. Yeah There's a French firm called Simda spelled S I M Bda is still making projectors and they're look alike so for the actor pros their models on actor pros great I wouldn't know that I Notice that when you had your breakdown of the lamp modules one that was a dual lamp and one of the single lamp. Yeah, you You put the little Comment there exactly that he filter is on some models Yeah, wouldn't it be advantageous to put that filter on all your projectors so that it cuts the infrared down you make your Slides last that much longer. I've heard that they do help to cut the infrared down But the way they do that is by adding a green glass Which I don't know if that changes the color of your slide. I assume it would But that would probably help to keep the life longer, but I don't know they actually know you get the infrared glass You can actually get is which is almost basically clear And it will just reflect the infrared way and if you keep the infrared off the slides and it will Keep the heat down and right make them not fade, you know as quickly as quickly. Yeah. Yeah Could be a nice addition I would I would like to thanks for your great presentation I Would like to add a comment regarding servicing those projectors because we just ran into that problem when We acquired the piece that Jeffrey briefly introduced yesterday if you remember Sharon Hayes installation with the 13 projectors on stands We basically the artist basically ebay together a whole bunch of different used Slide projectors and various conditions and she just Gave them to us and we tested them and decided which of the 20 would be the 13 that we use for exhibition That would be like working best and I had put some money aside for servicing But I ran into the problem that in New York City There was no longer a service company with Kodak certified Technicians that they would have working on those actor pros and actor graphics and the company Refused to open the actor pros because they were scared that I would sue them or something if the condition was You know Worse than before or something and they simply didn't have the Kodak certified person anymore So they directed me towards someone in Washington that would still do that But it was so expensive It was 800 bucks per projector like a clue like just a service Relooping and everything did you have it done that I did no I didn't have the money money in my budget So you know I had some of them service the actor graphics They still took on but the actor pros I ran into the problem because I hadn't foreseen that amount of money being necessary for proper servicing so Long story short, I think it's really important if we work with these slide pieces to inquire Before the show how much the service is going to cost and then ideally I think they should be serviced before and after The show to get them in great Good condition again have them dusting I mean the dusting we can do in-house as well and part of the re looping but if it comes to the really technical Parts I don't feel that I'm skilled enough to do that. I know that Tina at Tate is doing it herself Yeah, she was saying that last night What were those projectors so are those considered part of the piece now where you're not allowed to change the models They are I didn't we didn't dedicate them to that piece. They they are in our shared obsolete equipment pool Yeah To comment on that I think what we've been doing now over the last six years is to get specialists in To train us what needs doing and then sort of pass that knowledge on to every new technician that sort of comes in And I think to the earlier question with the heat sinks quite frankly the the 2050 carousels They have an intestine lamp So the need of your heat sink which is the green sort of appearance one is a lot more Crucial in order to keep the heat out where the halogen ones just cause a little bit heat by nature and But a lot of the old Koda guys They're still out there and you'd only need to find them and get them in and spend time together with them Bake a cake and and I'm sure you could come up with with very good sort of video captured manuals because if you do it Regularly you sort of really get in the mode and there's very little that can go wrong and the the only worry That that we often have as we sort of gone through phases in servicing all the slide project I said one time just to get it out of the way and loop them But quite often once you've looped them increase them and don't use them the the crease is going to get stall so quite frankly you have the the opposite effect in actually creating more damage or Trying to then get rid of the Sort of deteriorated crease if you don't use the project as regularly enough It's we just done dust and get get rid of the sort of excess of the crease And then when the projector comes back into action We sort of then do the looping and the creasing because then we know that it's going to be running and distributed to those Bearings that need crease and lubrication We have a few we have a few more minutes as if there are more questions Otherwise I thank you sir for this very informative