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IFC-presentation: ‘crossmedia’, by Vincent van Merwijk
IFC-presentation ‘crossmedia’, by Vincent van Merwijk,
IFC-presentation ‘crossmedia’ (click here…)
with permission taken from
the web-log of
Erwin Blom, VPRO digital
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IFC-presentation: ‘Podradio’ by HÃ¥kan Engström, Sweden
Hakan will tell a bit about the difference between on demand, streaming, podcasting as well.Monday, 1 May, 16.45 to 17.45 Presentation “Podcastingâ€Vienna, ORF
by by Håkan Engström, Sweden
The swedish Radio claim to have introduced three new words to the swedish language, you will find them in this years edition of the swedish academys dictionary,.
Podradio, which, describes the recieving side, while the established word, podcasting , signify the ditribution.
Podder. A Podder. is the person who Pod ..
And Pod, to Pod , is the verb.
But allready six years ago, before podcasting , srC was invented. Sr c is a radiochannel, or a webchannel with interactive possibilities, and you can only find src on the internet. They call themselfs an experimental channel for new expressions on the internet and their basis are sounds and new digital media.
You can describe them as a magazine with a new edition every halfyear and the release is constantly growing during this time. Initially with a higher frequence, maybe once a week something is added, and succesive slowing down towards the end of the six month.
Every edition has a theme, and one of the interactive ideas with src is the constant discussion over the internet, worldwide, on how to complete the theme, and also to actually complete it. There are contributions from all over the world both to the discussion and to the production.
SRC is a small department with a small budget and a huge staff of freelancers, many of them artists working with sounds and recordings for the first time and often with a very different approach to radio .
TheSRC archive contains some 280 pieces in six or seven different languages
( The quality of the pieces however could be discussed, one might think there is a gap between the vision and what comes out of it.
But they stress they are contentdriven, that is, the content decides the technique and not the other way around as the discussion sometimes may have been att the swedish radio.and elsewhere. )
They have 1 000 visitors per day, from all over the world . This may be obvious to you, but it is new to me: 1000 visitors makes a very small community, but on their spread!!!
They reach everywhere, and that is really one of the fabulous things with the internet I think
Then I could say something about streaming radio, radio on demand and the differences from podcasting, if you like.
To Pod you need is a computer, a fast connection, broadband or adsl or something like that, and, an mp3-player ( which really isnt neccessary but convenient).
( is this too technically???)
What you do is to download a free software, I-tunes for instance, and then search the net for interesting radioshows to pod. You subscribe, and then your computer will do all the work You dont have to do anything, every day or week or whatever you ask for your computer download the shows you subscribe to. Automatically.
( now we could look at an issue of the ricky gervais podcast tv if there is room and time)
Swedish Radio started podcasting little less than a year ago and it was a success from the start.
Now we podcast about 40 shows, most of them once a week. And mostly the latest show, the one just broadcasted.
At the documentary department however, we podcast only old productions, but I will get back to why.
Downloading radio has grown each month since we started, but not att the cost, it seems of regular listeners. The Podders appears to be additional listeners. Maybe You can come to the conclusion that this gives us a new audience, the youth, and maybe it is, but some of the podcasts are definitly radio for older people, and the trend is the same for all the shows.
Podcasting gives us more listeners. If you look at streamed radio and radio on demand, the majority is young, 50 % are under 34, but maybe 10% are over 65.
The first two months of this year we had close to a million downloads on a population of 9 millions.
In addition to that there are another 600 000 who listens to streamed radio, or radio on demand each week
To me that sounds a lot and many of them are probably counted several times, every time they listen to or download a new show, but the frequence of internetusers is quite high and still growing. . In june last year over 3 000 000 households in sweden were connected to the internet. And last year 1.5 million mp3-players were sold
The Leagal situation
Last month we had close to 40 000 documentaries downloaded, thats 10 000 per program compared to 150 000 on the three transmissions each program has.
As I mentioned the documentary department only pod old programmes, progammes with no music or other copyright protected elements such as litterature or participants with special agreements such as actors
We havent yet come to an agreement with the organisations protecting the copyrights, and new documentaries allmost allways contain some sort of music. For some reason older swedish documentarys seem to have less music. So we spend a lot of time listening through our archive and I find it very interesting to listen to 10 or 15 or even 20 years old documentaries.
Ten fifteen years ago we went from analogue to digital technique . Has that changed our productions? And have we lost something in productionquality on the way.
In other departments this legal situation has forced the producers to make two different versions of their programmes, one without music to pod, or in some cases, when it is to much work to make a version without music, they just dont pod it.
Or, they dont use music anymore. I have talked to several producers who substitute music with other sounds. I dont think that necesarrily is a bad thing. Limits often creates fantasy and interesting solutions.And after all, thats what making documentarys often is about. You dont have the material you dreamed of but you do have a deadline.
But on the other hand music works fine in radio.
I think the problem is that those responsible dont really take podcasting serious, or they dont know yet if they should take it serious. The negotiations have stopped since some time now, while the radiomangement decides about webstrategy and weather podcasting is the future.
Meanwhile podcasting grows and frustrated producers invent new ways of making radio, and in many cases the future of producing radio moves out of the big publicservice institutions.
At the swedish radio the management is very concerned about those who dont listen to public service radio. They have identified certain groups such as young women, kids and immigrants. Specially immigrant women . These groups , and a few more will over the next 4 years be targets for special concern from the swedish radio.
An awful lot of money will be spent on making radioprograms to attract them. 15% of the swedish radios total budget for those who dont listen to us at all and another 12% on those groups called neglected.
There have been discussions on wheather you can make a certain group out of something as heterogenic as immigrants, but the discussion is closed and the decission has been taken.
There is a new audience to be found on the web. Maybe not the audience the management of my company desires, but still, a new and very diversified, demanding and active audience.
And I still have this banal idea that quality never fails. And that quality is something personal, originating from an idea. You dont make a poll and ask 5000 people what they want to listen to and then reduce the 5000 answers to an Idea no one would ever think of having.
Webradio and Podding is most certainly part of the present and the future regardless what conlusions the swedish radio will come to. You will very soon create your own radio, download the shows you want to hear, at times when it suits you, and stream other programmes , like the news, and you will do it on your cellphone or your I-pod.
But the traditional broadcasted radio will still, in a reasonable near future be the dominant media for distributing sounds
website
2006, 32nd IFC, Vienna (HOME
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How to publish audio/feature
How to publish your audio/feature…Publish and store video, audio and other media that you created!Share and discover independent media. Connect to a global community!
Learn how to create citizens media. Free storage & bandwidth forever!
Do NOT post other artists’ copyrighted works without permission. ‘Ourmedia’ is about showcasing your creativity.
‘Ourmedia’ accepts audio in all formats.
On ‘Ourmedia’, “audio” refers to any kind of digital sound recording: speech, music, sound snippets, etc.
Each involves a different approach.
Ourmedia’ require only a few fields: generally, name, title, copyright license, description, keyword or tag, and sometimes a media type.
‘Ourmedia’ will store your files for free for decades to come, so please take a few extra moments to enter all relevant text fields during the upload process.
Your children or grandkids may thank you one day.
check out the OUR MEDIA web site
website
http://www.ourmedia.org/help/publish-audio
http://www.ourmedia.org/publish/howto
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i found a nice, powerful & free editor on the web.
i found a nice, powerful & free editor on the web.( looks & feels as vegas )
Runs on Windows 98/2000/XP/XP64, and is experimentally supported using WINE.
by
Ward Weis (BE)
take a look at:
http://www.cockos.com/reaper
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Comments
all photos IFC 2006 Vienna
Here they are……if you like to add more photos for this set…welcome!!
please, send it to my special big email inbox
Overview all photo’s IFC 2006 Vienna
here
email your photos…
to my special big email inbox
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PRIX EUROPA 2006: Call for Entries
Dear colleagues,
We invite you to enter your projects
starting now until 1 July (SPOT 1 September) for this year’s Prix
Europa media competition.
New for the 20th edition of Prix Europa:
the Finnish broadcaster YLE
has donated the SPECIAL PRIX EUROPA in the Fiction category for the best
TV series, mini-series or serial.
Prix Europa-SPOT is looking for one-minute films from young film-makers
under the heading “Happy Birthday Europe”, celebrating
50 years of European unification.
All in all, there are thirteen prices in nine categories: Internet
(1), Radio Drama (2) and Radio Documentary (2), TV Fiction(2) and TV Non-Fiction(2),
TV Current Affairs (1), TV IRIS (1), Prix Genève-Europe (1) and Prix Europa-SPOT(1).
We are happy to welcome Arne Wessberg,
President of the European Broadcasting Union, as the new President of Prix
Europa and YLE Finnish Broadcasting as new Prix Europa partner.
Prix Europa 2006 enjoys the patronage of Josep Borrell Fontelles,
President of the European Parliament, and Terry Davis, Secretary
General of the Council of Europe, as well as the European Broadcasting
Union.
Some practical details:
This year please send all Television
entries on DVD (pre-selection) and Digital Beta(competition).
The Prix Europa Offices have moved
once again – so the new courier address (the postal address remains
the same) is:
PRIX EUROPA
Hotel am Studio
3rd floor
Kaiserdamm 80-81
D-14057 Berlin
Last but not least, there are also
new office phone numbers:
Tel: (+4930) 97 993 – 1 09 10
Fax: (+4930) 97 993 – 1 09 19
For full contact details see http://prix-europa.de/publish/contact.html?lang=GB.
Online registration on www.prix-europa.de
(http://prix-europa.de/publish/attendance.html?lang=GB).
Details about the 20th Prix Europa
Birthday celebrations will follow in due course and will be published
on www.prix-europa.de.
We are looking forward to receiving
your entries and welcoming you to the 20th Prix Europa.
Best regards from Berlin
Prix Europa Team
Online registration on www.prix-europa.de
http://prix-europa.de/publish/contact.html?lang=GB
For full contact details see
http://prix-europa.de/publish/attendance.html?lang=GB
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Third Coast Festival Update (06/07/06): If It Be Your Will (Leonard Cohen)
NOW FEATURED at www.thirdcoastfestival.org:If It Be Your Will
a radio documentary featuring Leonard Cohen
by Kari Hesthamar
Musician (and household name to some) Leonard Cohen insists
that he lives very much in the present, and claims he hardly
remembers anything from his past. But over the course of this
intimate radio feature from Norwegian producer Kari Hesthamar,
Cohen looks back over his life and shares some thoughts
about earlier days, including about the subject of one of his
best-loved songs, So Long Marianne.
website
http://www.thirdcoastfestival.org
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Comments
2nd Sewer Festival in Hilversum (rioolFest 2006)
Hilversum, Netherlands, (my hometown)PRESS RELEASE
2nd Sewer Festival in Hilversum
The Media city of Hilversum will soon host its sewer festival for the second year in a row!
The rioolFest©Open2006 (SewerFest Open2006) is a unique sounds project, that uses the sewer as a medium.
Storm water drains in the city centre Groest and surrounding areas will cheer on athletes acoustically this year from 17th till 21th May 2006.
Railway carriages rumbled through Hilversum’s underground during last year’s ‘rioolFest© ’.
This year’s sewer festival will be centre staged by some major sports events.
A taste of what is on the programme
• Tour de France athletes will push their bikes under the streets of Hilversum on Thursday 18th May.
• Grand Prix Formula 1 cars take on the underground sewer circuit on the following day.
• On Saturday 20th May storm water will be frozen to allow a most gruelling iceskating race, the traditional Eleven-city-tour of Friesland, to take place acoustically.
Media city with an unusual storm water system
During the upcoming rioolfest Open© peculiar underground sounds will not spring from sump grates at street level alone.
Visitors to ‘Gooische Brink’ or ‘Gooiland’ underground parking buildings will miss hearing the usual restful muzak.
Instead they will hear plays, soundscapes and soundsnacks.
For the first time in the history of Dutch underground parking, masses of pedestrians will outnumber cars.
The Hilversumse Filmtheater will present a line-up of breathtaking “sound movies†during the rioolfest Open©, including
• A compilation of Howard Stern’s erstwhile fiercely criticised nine-eleven radio show, broadcast in New York. (Stern forbids repeats of the broadcast, ever)
• A compilation of the broadcast on the night of 1-2 April 1982 by the Falkland Island Broadcasting Station.
This was the night Argentina invaded the Falkland Islands.
Presenter Patrick Watts kept his programme on air non-stop for ten hours.
Watts will be in Hilversum during the festival to look back at one of the most legendary nights in radio history.
The rioolfest Open© will be officially opened on 17th May by the mayor of Wesel, Germany.
Wesel is a city of origin for underground sounds.
A live ‘echo’ link will be kept between Wesel and Hilversum throughout the festival.
rioolfest Open© www.rioolfest.nl is the creation
of radio artist Willem Davids.
The festival receives a warm welcome from the media city, the Hilversum City Council.
The festival is a joint effort by radio makers and sound artists from the Netherlands and many other countries.
And…the programme is spreading underground as we speak!
new update soon
around ‘WK football ’06 and ’74
…the ’74 final: GER-HOL, 2-1 is still a Dutch national frustration…
…so, a LIVE ’06 replay! in Hilversum, stadion: ‘FC Hilversum’…
…HOL-GER, or FC Hilversum-FC Wesel, three weeks before the official start of WK’06…
…oops, the original radioreporters of ’74 in FULL SOUND on the stadion speakers during that match…
grt Willem
website
www.rioolfest.nl
email
info@rioolfest.nl
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Comments
Feature Production for the 5.1 listening system
I send to you a PDF of my presentation in Vienna to deposit on the IFC-Website.I hope, you’re well
Best regards
Kasparlink to PDF
http://files.blog-city.com/files/A04/55653/b/rbb_presentation_surround_ifc_2006_compact.pdf
email
Kaspar Wollheim
website
2006, 32nd IFC, Vienna (HOME
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Grand Prix Marulic 2006
I just came back from Hvar ….all best,alfred
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Documentary Category, Prix Marulic 2006
Prix Marulic, Special Commendation
• RUNNING WITH ATALANTA, by David Swatling, Netherlands.
A documentary that cleverly and rather unexpectedly combines human trafficking, the modern equivalent of slave trading, with a tale from Ovid’s “Metamorphosesâ€. Against the background of the virgin huntress Atalanta who could outrun any man, an impressive story unfolds, about a Latvian woman who is forced into the Dutch sex industry and finally manages to escape.
• ROOTS, by Aune Waronen and Pentti Männikkö, Finland
A program that closely observes eight country housewives who come together to bake sourdough bread and pass on the art of baking to a newcomer. What begins like just another story about preserving roots and tradition develops slowly into a meditation on tradition, gender roles, sourdough bread and Finnish identity. The jury was especially impressed by the outstanding quality of the recordings throughout ROOTS, including the sounds of bread-making and the womens’ voices.
Grand Prix Marulic 2006
is equally shared by
• RUNNING THE GOAT, by Chris Brookes, Canada
An entertaining, multi-layered and almost philosophical documentary about a traditional “set dance in 8 figures,” peculiar to a tiny port on the island of Newfoundland. This vivid, well-paced and perfectly mixed documentary subliminally discusses the loss of tradition and its hope for survival through the promotion of a national tourist industry. To this end, Running The Goat is not only a documentary about a dance, but an intelligent treaty about cultural change
* EXTRAORDINARY.STILLE. CE SOIR, by Jean-Claude Kuner, Germany
A program about a man who refused to give interviews and even forbade the recording of his voice, Samuel Beckett. By it’s playful and quiet approach combining text and interviews with actors, the writer’s editor and his nephew, this documentary gives listeners the impression that they’re practically hearing Beckett’s voice. Residing somewhere between a radio play and a feature, the program carefully probes into Beckett’s life and work through his admiration of Dante, exploring one of his inspirational wellsprings, “The Divine Comedy.” The jury was particularly attracted to the skillfull and intelligent design of translations throughout the story
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IFC AudioDocs 