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Checking references for intended status: Informational ---------------------------------------------------------------------------- No issues found here. Summary: 9 errors (**), 1 flaw (~~), 4 warnings (==), 1 comment (--). Run idnits with the --verbose option for more detailed information about the items above. -------------------------------------------------------------------------------- 1 INTERNET-DRAFT S. Stoner 2 HARTS Working Group ArtsEdge 3 Category: Informational J. Max 4 Rainfarm 5 March 1997 6 Expires September 1997 8 Humanities and Arts: Sharing Center Stage on the Internet 9 [draft-ietf-harts-guide-01.txt] 11 Status of this Memo 13 Distribution of this document is unlimited. Please send all input, 14 information, and comments to harts@isi.edu. 16 This document is an Internet-Draft. Internet-Drafts are working 17 documents of the Internet Engineering Task Force (IETF), its areas, 18 and its working groups. Note that other groups may also distribute 19 working documents as Internet-Drafts. 21 Internet-Drafts are draft documents valid for a maximum of six 22 months and may be updated, replaced, or obsoleted by other documents 23 at any time. It is inappropriate to use Internet-Drafts as reference 24 material or to cite them other than as "work in progress." 26 To learn to current status of any Internet-Draft, please check the 27 "1id- abstracts.txt" listing contained in the Internet-Drafts Shadow 28 Directories on ftp.is.co.za (Africa), nic.nordu.net (Europe), 29 munnari.oz.au (Pacific Rim), ds.internic.net (US East Coast), or 30 ftp.isi.edu (US West Coast). 32 This memo provides information for the Internet, Humanities, and 33 Arts communities. This memo does not specify an Internet standard of 34 any kind. Distribution of this memo is unlimited. 36 Abstract 38 This document is designed primarily for individuals who have 39 limited knowledge of, or experience with, the Internet. 41 The purpose of this document is to provide members of the arts and 42 humanities communities with an introduction to the Internet as a 43 valuable tool, resource, and medium for the creation, presentation, 44 and preservation of arts and humanities-based content. 46 The intended audience is practicing artists, scholars, related 47 professionals, and others who's knowledge, expertise and support is 48 important to ensuring the arts and humanities are well-placed in the 49 global information infrastructure. 51 For purposes of simplicity this document will use the word "Artist" 52 to mean both Artist and Humanist: "all practitioners who work in the 53 fields of the visual, performance, and literary arts, as well as 54 museum curators, librarians, and others who are involved in the 55 research, restoration, and presentation of that which comprises our 56 cultural heritage." (See Section 1.1 for further definitions of Arts 57 and Humanitites.) 59 Table of Contents 61 i. Conventions for this Draft.................................. 3 63 1. Introduction................................................ 4 64 1.1 Definition of Arts and Humanities........................... 4 65 1.2 What is the Internet........................................ 4 66 1.3 What is the World Wide Web.................................. 5 68 2. What does the Internet mean to the "Artist?"................ 7 69 2.1 Access to the Global Community: 70 Museums, libraries, newspapers, periodicals, stores......... 8 71 2.2 Discovering the work of others.............................. 8 72 2.3 Freely Available software, and other information............ 9 73 2.4 Sharing and Collaborating................................... 9 74 2.5 Communicating about the arts................................ 10 75 2.6 Sharing your work with others............................... 10 77 3. Forums...................................................... 11 78 3.1 Message Based Communications................................ 11 79 3.1.1 Electronic mail (email)..................................... 11 80 3.1.2 Mailing list server (listserv).............................. 12 81 3.1.3 Newsgroups.................................................. 12 82 3.1.4 Electronic Bulletin Board System (BBS) ..................... 13 83 3.2 Real-Time Communications.................................... 13 84 3.2.1 Internet Relay Chat (IRC)................................... 13 85 3.2.2 Multi-User Dungeon (MUD).................................... 14 86 3.2.3 Audio/Video Conferencing.................................... 14 87 3.2.4 Whiteboard Systems.......................................... 14 88 3.3 Archives.................................................... 14 89 3.3.1 Searching................................................... 15 90 3.3.2 Compound Searches........................................... 16 92 4. Accessing the Internet...................................... 17 93 4.1 Getting Started............................................. 18 94 4.2 Internet Service Providers.................................. 20 95 4.3 Computer Software and Hardware Tools........................ 21 96 4.4 Scanners, recorders, encoders/decoders, multimedia.......... 22 97 5. Creating Content............................................ 23 98 5.1 Getting Help................................................ 23 99 5.2 Basic Design Issues: Understanding Formats.................. 24 100 5.3 Text and Hypertext.......................................... 24 101 5.4 Graphic and Moving Images................................... 24 102 5.5 Music and Sound............................................. 24 103 5.6 Content Design Issues....................................... 26 104 5.7 Publicizing your Work....................................... 26 106 6. Issues and Challenges....................................... 26 107 6.1 Security Issues............................................. 27 108 6.2 Viruses..................................................... 27 109 6.3 Rights...................................................... 27 110 6.4 Conducting Business over the Internet....................... 28 111 6.5 Netiquette.................................................. 28 113 7. Glossary.................................................... 28 115 8. Resources................................................... 28 116 8.1 RFCs........................................................ 29 117 8.1.1 Using RFC-INFO@ISI.EDU to retrieve RFCs..................... 29 119 9. References.................................................. 29 120 10. Security Considerations..................................... 30 121 11. Acknowledgments............................................. 32 122 12. Authors' Address............................................ 32 124 Appendix A. Examples/Projects on the Internet of Interest to the 125 Arts and Humanities Communities 127 Appendix B. Some other URL's of interest 129 Appendix C. Examples for using the RFC server RFC-INFO@ISI.EDU 131 i. Conventions and Notes in the March 1997 Draft. 133 We have agreed that testimonial sections are essential, so we need 134 everyone to begin collecting quotes and experiences for each section. 136 Also every section should have many pointers to more information. 137 Any and all input, suggestions, and submissions graciously accepted. 139 This draft includes the following notation to aid completion: 141 - At the sign of two asterisks (**) are important notes and 142 questions. 143 - At the sign of two plus signs (++) information is needed. Where 144 known a contributor is mentioned by name, otherwise, please 145 volunteer! 146 - At the sign of two question marks(??) we need to decide what 147 goes there. 149 1. Introduction 151 This document has been structured to provide information about, 152 and examples of, the wide range of functions and capabilities 153 inherent to online services. It will also show the potential of 154 networking technologies for enhancing Arts and Humanities content and 155 interests. 157 The basic functions of the Internet are described, along with 158 their application for building online communities of interest 159 (including the Arts and Humanities). 161 This is followed by discussion and examples of how Arts and 162 Humanities content can be represented, stored, and retrieved on the 163 Internet. 165 Also provided are examples of hardware and software being used, 166 and in development, to support the creation and presentation of new 167 artistic and literary works. 169 In addition to illustrating the great potential of the Internet, 170 this document aspires to provide an introduction to the issues and 171 challenges that affect the development and presentation of arts and 172 humanities content online. 174 Finally, some tools and resources have been provided to assist 175 both novice and experienced users in benefiting from, and 176 contributing to the global online arts and humanities community. 178 1.1 Definitions of Arts and Humanities 180 For purposes of this document the term "Arts" includes, but is not 181 limited to, dance, design arts, folk arts, literary arts, media and 182 film arts, music, theater, and visual arts. 184 The term "Humanities" includes, but is not limited to, the study 185 of the following: language, both modern and classical; linguistics; 186 literature; history; jurisprudence philosophy; archaeology; 187 comparative religion; ethics; the history, criticism and theory of 188 the arts; those aspects of social sciences which have humanistic 189 content and employ humanistic methods; and the study and application 190 of the humanities to the human environment. 192 1.2 What is the Internet? 194 As new users, the first question that probably comes to mind is: 195 "What is the Internet?" The answer is: "People, computers and 196 information electronically linked around the world by a common 197 Protocol for communicating with each other." 198 The beginnings come from the US Department of Defense's desire to 199 transport government and military information during the time of a 200 "nuclear event". Thus the Advanced Research Projects Agency was 201 formed, which created ARPANET. From this, over the next 26 years or 202 so, grew the network known as "The Internet", now dubbed the 203 "Information Superhighway". There are several million computers 204 connected and over 40 million users. 206 The common language or "Communication Protocol" which these 207 computers on the Internet speak, is the Internet Protocol, or IP. 208 This is the underlying layer which allows transmission of diverse 209 data, information, text, pictures, sound, etc. to be passed between 210 otherwise incompatible machines. 212 The Internet should not be confused with America OnLine (AOL), 213 CompuServe, Prodigy, and other type service providers, which may use 214 their own, often proprietary, protocols and are sites unto themselves 215 but may have connections to the Internet. The Internet should also 216 not be confused with the World Wide Web which is the topic of the 217 next section. 219 1.3 What is the World Wide Web? 221 The World Wide Web, often called, "The Web" is a vast multimedia 222 document distributed among a large number of the computers on the 223 internet. This document is in a format called HyperText which allows 224 information in the web to be linked by words or pictures viewed on 225 the computer. 227 The Web is broken up into a large set of pages (Web Pages) of 228 information connected by HyperText "Links" which let you click on a 229 highlighted word or picture to call up a page of related information. 230 This is what differentiates HyperText from "normal" text. In 231 "normal" text, each sentence or idea is connected in a single 232 sequence or "train of thought", from beginning to end. In HyperText 233 however, the flow of ideas branches out, so that each idea may be 234 connected to many different "trains of thought" that jump from link 235 to link. This allows you to read HyperText documents, in a way more 236 naturally resembling human thought. 238 There is no central hierarchy that organizes the Web. Instead, the 239 information is distributed among many "Web Sites" created and used by 240 the many people involved. A Web Site is much like a magazine in that 241 it has a Front Page, called the Home Page, and may have many other 242 pages of related information that can be connected in whatever way 243 the author wishes. 245 For example, you could create a "Cool Music" Web Page and place it on 246 a Web Server, which can be any computer somewhere on the internet 247 running software to provide access to the resident Web Pages. Anyone 248 on the internet could then use a piece of software called a Web 249 Browser to ask the Web Server to look at your Home Page. 251 This Home Page could be a striking artwork featuring a list of your 252 favorite albums and a few labeled buttons. While your music plays 253 from their speakers they choose to click on any album that catches 254 their eye, or go to lists of information sorted by Artist, Label, or 255 Genre. Once they get to the page for any particular album, they 256 would see the artwork, a song list, and many other links to follow. 257 Clicking on a song could pull up the song lyrics, or perhaps even 258 download parts of the song. Or they could follow a link from your 259 page to the HomePage of the artist's record company, or to magazines 260 that have interviewed the band. If the information is out there, 261 your page could link to it. 263 Web pages are written in a format called HTML, the HyperText Markup 264 Language. This is a protocol for putting special symbols into a text 265 document that specify links to other pages, fonts to use, images to 266 load, and many other things. It is simple enough that most people 267 can learn to use it, but rich enough in possibility that there will 268 always be a thriving community of people making web pages for others. 270 In order to download information from distant places in the internet, 271 your computer will be using a protocol called HTTP, the HyperText 272 Transfer Protocol. HTTP was designed to allow web browser software 273 to connect to web server software on another machine and request the 274 transmission of a web page in the form of an HTML document and any 275 associated images, audio, video, etc. 277 Since any part of a page can link to any accessible data on the 278 Internet, each link must include a reference to exactly where on the 279 internet the information is. This is the job of the Uniform Resource 280 Locator, URL. The URL is very much like your home address. When you 281 tell someone your "address", you give your postal code, 282 country, state, town/city, street, building, and your name. 284 A URL is a machine readable (and hence somewhat cryptic) text string 285 which tells both people and machines where to find the information. 286 It contains the name, directory, machine, host address, and the 287 protocol for accessing that information. URLs usually take the form 288 "http://www.something.com", where www.something.com is the host site, 289 and http: is the protocol used to access it. The first page most 290 sites want you to see is their main home page, so you don't always 291 need to add the name information. Also, since http is the primary 292 protocol of the web, many browsers now assume it, and you will likely 293 only need to know the protocol being used if its different from http. 294 (See also Section 3 - Forums) 295 You can start browsing by entering a URL into your web browser, and 296 it will reach across the internet to download the appropriate web 297 page. If you then select a link, your browser will read the URL 298 built into the page itself, and use it to find and access the 299 appropriate information. 301 At last check there were hundreds of thousands of web sites, home 302 pages, and hosts on the Web. The contents of those sites are almost 303 as varied. Some pages are personal pages containing photos of family 304 members, lists of hobbies, or the sharing of collections such as song 305 lyrics. Some pages are strictly business, selling everything from 306 abalone to zymoscopes. (If you're interested in doing business over 307 the Web, please read Sections 6 and 10 on Security.) Still other 308 pages provide services such as information searches, and weather 309 reports. 311 2. What does the Internet mean to the Artist? 313 The internet is exerting a profound influence on our society. Human 314 culture is based on communication, and the widespread availability of 315 information and the thought-like constructions of HyperText are the 316 most powerful new ideas in communication since the invention of 317 writing. A glance back at history will easily show how written 318 language has shaped our societies. These results are only a 319 foreshadowing of the things to come. 321 Even now in its infancy, the effects of the internet can be easily 322 seen in popular media as well as in the way we do business. But the 323 most dramatic influences are in the children who are now growing up 324 with the net. Many parents are aware of the influence television has 325 over their children. Eventually the net may become a superset of all 326 TV, but with added power to inform as well as entertain. If we raise 327 the internet right, it will return the favor by nurturing a 328 generation that may well grow up wiser than ourselves. 330 And so we have a great responsibility to make sure that the best 331 parts of human culture are represented on the internet. Because the 332 net is still primarily created and run by Scientists and Engineers 333 who are creatures of mind, it is the heart and soul of the internet 334 that needs help. Artists are the heart and soul of human culture, 335 and must bring the fruits of their efforts to the net to give the net 336 culture (and future generations) their essence of humanity. 338 And if that doesn't convince you, we will also show that there are 339 many ways in which artists may exploit the net for their own personal 340 gain. As the online culture becomes a more balanced representation 341 of humanity, the net will become an essential tool for collaboration, 342 communication, and distribution of art. The day is coming where 343 those who are not on the net will be greatly handicapped in the 344 expression and distribution of their art. 346 A great many visual and performing arts institutions and 347 organizations have now established sites on the World Wide Web and a 348 significant number of online discussion groups focus on the arts and 349 humanities. Consortiums of museums and libraries are now using 350 networking technologies to support research and projects involving 351 more effective ways to collect, store, and disseminate objects of 352 antiquity and other non-textual primary sources, as well as textual 353 sources. 355 Thousands of sites are also created by individuals and for 356 institutions, organizations, and businesses for reasons ranging from 357 commerce to simple self expression. The net is the new frontier for 358 the growth of humanity. Can you afford not to be involved? 360 2.1 Access to the Global Community 362 Access to art is no longer constrained by vicinity. Hang out your 363 electronic shingle and just imagine who might drop in. The Internet 364 connects hundreds of countries, thousands of cities, and countless 365 groups and individuals around the globe. People all around the world 366 will be looking for what they want on the net, and if you have what 367 they want, then through the magic of the net, you are their next door 368 neighbor. 370 The Internet explorer will find that more and more sites are becoming 371 multilingual. The Internet provides a forum in which diverse 372 cultures can merge, and allows the explorer to visit faraway places 373 from the privacy and safety of their own computer. 375 2.2 Discovering the work of others 377 Once you have the basic tools for using the Internet (See Section 378 4) you will begin to understand how easy, helpful, informative, and 379 exciting it can be. With a few quick strokes you have accessed a 380 great library, museum, or gallery, toured a faraway city, or looked 381 up an old friend. You might find an out of print book you have 382 always wanted, then either read it on your computer screen, or print 383 it out on your printer. If you do not have a printer, simply save it 384 to your floppy disk and bring that to a shop or friend with a 385 printer. Its really that easy. 387 You could spend the afternoon at the Smithsonian, or the Louvre 388 without ever leaving your chair. For a more athletic adventure, you 389 could put your computer in front of your treadmill, and jog through 390 the online Olympics site. 392 When you are ready, you can explore deeper. Follow other links to 393 smaller sites, lesser known writers, artists, poets, and thinkers, 394 and discover the emerging world they are creating. With the proper 395 tools you can even view moving pictures, and listen to music and 396 other audio. 398 With access to the Internet, the world is at your fingertips. Even 399 more than art, literature, and humor, online is information. Bring 400 your questions on health, the environment, government, and religion, 401 and look though volumes of documentation on your concerns, or discuss 402 your questions with others electronically. Once you get used to it, 403 you will even be downloading more information and tools to assist you 404 further. 406 Examples of sites to explore, and good starting points can be found 407 in Appendices A and B. 409 2.3 Access to Freely Available Software, and Other Information 411 There is a world of useful software available to you via the 412 Internet. Known as Shareware, Public Domain, or Freely Copyable, you 413 can find many software programs you may download and use on your own 414 machine, often completely free, occasionally for a small and/or 415 optional fee which helps the author to afford to create more software 416 for general use. There are also libraries, stores, and news groups 417 you can peruse in search of just the tool or information you want. 419 As you explore the Internet, you will begin to find information that 420 is beyond your reach without the right tools for viewing, listening, 421 etc. For example, someone may have put up a sound file using a 422 format which cannot be recognized by the software you have installed. 423 In these cases, that person will often have included a pointer to the 424 exact tool necessary to recognize their format, or convert the 425 format, and you can download, install, and use this tool right away. 427 Using the basic tools acquired to access the Internet (See Section 428 4), you can begin to add to your collection software tools, both for 429 accessing the information already on the Internet, and for creating 430 your own content (See Section 5). 432 2.4 Sharing and Collaborating 434 There are many people both like, and unlike, yourself with whom you 435 can meet, communicate, and share ideas. Some like to just talk, you 436 can listen if you like. Others like to just listen, so you and 437 others can talk. 439 There are also many forms that communication can take, from 440 private electronic mail, to group video conferencing, to moderated 441 newsgroups, to public bulletin boards. See Section 3 for more 442 information on Electronic Forums. 444 Artists often want to share their work with other artists on the 445 Internet so that they will receive comments and recognition for their 446 work. It is a great place to explore new ideas with other artists as 447 well. Perhaps a painter has tried a new paint and has a review of 448 it, or has developed a new way to mix colors, or a photographer wants 449 to share how to get a difficult shot. Perhaps you would like to 450 locate a rare album, or debate one musicians merit over anothers. 452 There are many types of content that artists can share. Including: 454 - text: stories, poetry, historic accounts, transcripts, etc. 455 - images of their visual work: paintings, photographs, 456 sculpture 457 - images of themselves: photographs, self-portraits 458 - sound files of their audio works or voice presentations of 459 their works: books on tape, speeches, tutorials, music 460 - moving pictures: video arts, performance arts, etc. 461 - a description of their art process and works of art 462 - resume and/or biographical data 463 - contact information in the form of electronic mail address, 464 postal mail address, phone, etc. Electronic mail is most 465 popular because it allows people to respond spontaneously. 467 2.5 Communicating about the arts 469 Perhaps you prefer to discuss and compare the works of others with 470 producers, collectors, gallery owners or other professionals in your 471 field, or related fields. You might want to find out who's hot and 472 why. You could also find out where, and when shows, showings, 473 benefits, conferences, releases, signings, and performances are 474 taking place, or announce your own showing. 476 They say that for every artist, there is a critic, and you could meet 477 one, or be one, on the Internet. 479 2.6 Sharing your work with others 481 After you've met some of the global critics, and compared your work 482 with others, you may feel so bold as to share your work with others. 483 Perhaps emailing a manuscript to a publisher, or putting up scans of 484 your art will entice a buyer. Perhaps it will entice a critic to say 485 wonderful things about you to a buyer. 487 Perhaps putting your work on the Internet will bring fortune and 488 fame, or perhaps it will encourage others to put their work up. 489 Increasing the cultural content of the Internet will have profound 490 results in all areas of the Arts. 492 3. Forums 494 Websters defines a forum as "A public meeting place for open 495 discussion." In the world that could be a park or an auditorium. In 496 the Internet, a forum will be electronic, but it may still feel like 497 a roomful of people. 499 Many forums exist on the Internet. There are interactive forums 500 where you can share information in real-time and carry on discussions 501 with others. There are message-based forums where you send or 502 receive a message and others involved in that forum can respond 503 later, and there are archived forums where information is stored, and 504 may be retrieved by anyone but modified only by its owner. 506 While we have attempted to list and describe a few of the more 507 popular forums, we have not created an exhaustive, complete, or 508 up-to-the-minute list here. You can find information on forums, 509 lists and sites in many magazines and books today. (See Section 4.1 510 - Getting Started) 512 3.1 Message-based Communications 514 In Message-based communication, a message is sent by one user, and 515 received by one or many. For example, you might send a dinner 516 invitation to an individual, a couple, or a group. In the same way, 517 you send electronic messages to individuals or groups. Just like 518 your Postal Service for physical mail, there are electronic mail 519 servers for electronic mail. Just like you have a physical address 520 to which your physical mail is sent, there is an electronic mail 521 address to which your electronic mail is sent. 523 Message-based Communications includes electronic mail, listservs, 524 newsgroups, and bulletin boards. 526 3.1.1 E-mail 528 Electronic mail (email) is a system whereby a computer user can 529 exchange messages with other computer users (or groups of users) via 530 a communications network. 532 Typical use of email consists of downloading messages as received 533 from a mailbox or mail server, then reading and replying to them 534 solely electronically using a mail program which behaves much like a 535 word processor for the most part. The user can send mail to, or 536 receive mail from, any other user with Internet access. Electronic 537 mail is much like paper mail, in that it is sent, delivered, and 538 contains information. That information can be textual, graphic, or 539 even sound. (See Section 4 - Accessing the Internet, and Section 5 - 540 Creating Content, for more information on non-textonly email 541 messages.) 542 You will get an Electronic mail, or Email address usually from 543 your Internet Service Provider (See Section 4). Your email address 544 contains your name, and the address of the machine on which you 545 receive your mail. The name of the machine will be in two parts, 546 (separated by a dot or period symbol ".") the name of the machine 547 itself, and the "domain" it is in. (See the documents reference in 548 Section 8 - Resources, for more information on domain names). 550 The possible extensions for a domain name will be one of: .edu, for 551 educational institutions; .gov, for government sites; .com, for 552 commercial companies; .org, for other organizations; or it might be a 553 locational domain name which would contain the city, state, region, 554 and country, as la.ca.us would be Los Angeles, California, United 555 States. 557 An email address takes the form "yourname"@"yoursite"."yourdomain" 558 For example, if your name is Jo Cool and you get your Internet 559 service from Dirigible Online, your email address might be 560 jcool@dirigible.com. 562 3.1.2 Listserv (mailing list server) 564 A Listserv is an automated program that accepts email messages from 565 users and performs basic operations on mailing lists for those users. 566 In the Internet, listservs are usually accessed as either 567 "list-request@host.domain" or "listserv@host.domain"; for example, 568 the list server for the hypothetical list "newsreports@acme.org" 569 would be "newsreports-request@acme.org". 571 Sending email to "newsreports@acme.org" causes the message to be sent 572 to all the list subscribers, which is inappropriate for "Subscribe" 573 and "Unsubscribe" requests, while sending a message to 574 "listserv@acme.org" sends the message only to the list server. Using 575 "listserv@acme.org" you would put the listname in the subject field 576 with "Subscribe me@my.domain" as the body of the message. Not all 577 mailing lists use list servers to handle list administration duties. 579 3.1.3 Newsgroups 581 A Newsgroup is an electronic bulletin board system created originally 582 by the Unix community and which is accessible via the Internet. 583 Usenet News forms a discussion forum accessible by millions of users 584 in almost every country in the world. Usenet News consists of 585 thousands of topics arranged in a hierarchical form. Major topics 586 include "comp" for computer topics, "rec" for recreational topics, 587 "soc" for social topics, "sci" for science topics, and there are many 588 others we will not list here. Within the major topics are subtopics, 589 such as "rec.music" for general music content, and 590 "rec.music.classical" for classical music, or "sci.med.physics" for 591 discussions relating to the physics of medical science. 593 There are also many General, Regional, and even Local site groups. 595 ++ more here 597 3.1.4 Electronic Bulletin Board System (BBS) 599 A Bulletin Board System consists of a computer, and associated 600 software, typically providing electronic messaging services, archives 601 of files, and any other services or activities of interest to the 602 bulletin board systems' operator. 604 Typical use of a BBS has the user dial into the BBS via their modem 605 and telephone line and select from a hierarchy of lists, files, 606 subdirectories, or other data maintained by the operator. Once 607 connected, the user can often send messages to other BBS users within 608 the system. 610 Although BBSs have traditionally been the domain of hobbyists, an 611 increasing number of BBSs are connected directly to the Internet, and 612 many BBSs are currently operated by government, educational, 613 research, and commercial institutions. 615 3.2. Real-Time Communications 617 Real-Time Communications describes the process of communicating with 618 others via the Internet virtually simultaneously. Generally in a 619 forum where you type something, which another user sees on their 620 screen, and types something, which you see a moment later. The 621 moment between when they begin typing, and you begin seeing their 622 words, is known as "net-lag". 624 Forums which communicate in real-time are the Internet Relay Chat 625 (IRC), the Multi-User Dungeon (MUD), Audio/Video Conferencing (AVC), 626 and White Board Systems (WBS). 628 3.2.1 IRC - Internet Relay Chat, WebChat 630 Internet Relay Chat, or IRC, provides a text-based mechanism for 631 communication with multiple participants. IRC is an interactive 632 forum set up in virtual rooms that you can move between, and where 633 others can virtually "hang out". Chat rooms can be used to discuss 634 common ideas or topics, or as part of a collaborative process. 636 ++ needs more 637 3.2.2 MUD - Multi-User Dungeon 639 An interactive game environment where both real other players and 640 virtual other players exist and with whom you can communicate to 641 share ideas or solve puzzles, etc. 643 ++ needs more 645 ++ add Moo's - object oriented mud 646 ** (http://ftp.parc.xerox.com/pub/MOO/papers) 647 ++ vrml, avatar, digital editing systems, proprietary (palace, urban 648 ++ desires) 649 ++ Expand on the concept of "shared construction" -- that this 650 ++ enables information and ideas to accrue over time. 652 3.2.3 Audio/Video Conferencing 654 ++ CUSEEME - video conferencing 655 ++ multicasting 656 ++ Expand on uses 658 3.2.4 Whiteboard Systems 660 A Whiteboard is analogous to the blackboard, and is physically quite 661 similar. A Whiteboard System allows people on the Internet to share 662 text, drawings, and other graphic information which is being written 663 in real-time on an electronically enhanced whiteboard. 665 Software exists which allows connections between two sites, or 666 hundreds, over the Internet, the Web, or your telephone. 668 ++ commercial, non-commercial, internet, non-internet. 669 ++ PictureTel, SmartBoard, 670 ++ wwwphone is freely available. Send mail to: jay@eit.com 672 3.3 Archives 674 Archive is defined in Webster's New World Dictionary as: 675 n. 1 a) a place where public records, documents, etc. are kept 676 b) a place where material having documentary interest, as private 677 papers, institutional records,memorabilia, or photographs, is kept. 679 Archives on the Internet are pretty much the exact same thing. The 680 motive and much of the content is the same, but the media changes 681 (from paper files, to electronic files), and as such allows for a 682 much greater diversity of content. 684 Archives on the Internet also allow many people access to their 685 files simultaneously, and from all over the world. 687 Any and all information that people want to make available on the 688 Internet can be. This means there is a truly vast amount of 689 information out there, with more being added every day. In fact 690 there is so much information that it is sometimes difficult and 691 confusing to find the information you want. This is the topic of our 692 next section. 694 3.3. Searching 696 One of the great challenges facing the internet is how to organize 697 the vast amounts of information in ways that allow most people to 698 find what they want. In theory, there may be a "perfect" 699 organization, but in practice, we will never achieve it. This means 700 that finding the information you want on the net may require some 701 skill on your part. Fortunately there are many tools and strategies 702 that may be helpful. 704 One of the all time great ideas for finding the information you want 705 is a thing called a search engine. A search engine is a computer 706 program usually living on a remote computer that spends its time 707 downloading information from other computers and building an index of 708 what lives where. This behavior has given them the nickname of Web 709 Crawlers. What this means to you, is that you can call up the Search 710 Engine's home page, and enter in a subject, name, title, or random 711 string pattern, which is then used to search the engines index 712 for stuff out on the net that seems related. This can lead to both a 713 large volume of information, and some rather startling discoveries of 714 information from unsuspected sources. 716 Some of the available Searchers and Indices on the Internet include: 718 Yahoo - Index of WWW sites, with search capabilities 719 http://www.yahoo.com/ 720 DejaNews - USENET (news groups) search engine 721 http://www.dejanews.com/ 722 WebCrawler - http://query.webcrawler.com/ 723 Lycos - http://www.lycos.com/ 724 AltaVista - WWW and USENET search engine 725 http://www.altavista.digital.com/ 726 Magellan - Index of reviewed and rated Internet sites, with 727 search capabilities 728 http://www.mckinley.com/ 730 Yahoo, for example, has a high-level category called "Arts", which 731 has a multitude of subcategories below it, most of which have further 732 subdivision, each of which can contain lists of lists. For example, 733 to find information on Modern Dance, one can follow the links to 735 http://www.yahoo.com/Recreation/Dance/Modern/Groups 736 or simply type "Modern Dance" into the search field and choose from a 737 list of selections returned. 739 On a typical attempt on March 25, 1997, Yahoo returned 4 major 740 categories of Modern Dance, and offered 82 other links to related 741 pages around the web. 743 ++ info on WAIS 745 3.3.2 Compound Searches 747 After experimenting with the available search engines, it quickly 748 becomes clear that searching on a broad category can result in too 749 much information. For example, a recent search at AltaVista for the 750 subject "Rembrandt" matched over 8500 individual items, including 751 information on the famous artist (Rembrandt von Rijn (1606-1669)), 753 URL:http://www.bod.net/CJackson/rembrand/rembrand.htm and His 754 Self-Portrait, 756 URL:http://found.cs.nyu.edu/fox/art/rembrandt/self1660.html a 757 hotel in Thailand (Rembrandt Hotel and Plaza, Bangkok), 759 URL:http://www.siam.net/rembrandt/index.html and a pizza 760 restaurant in California 762 URL:http://www.lososos.com/Rembrandt'sCafe/. 764 To be more particular in what you find, all of the available 765 search engines allow you to do compound searches, in which multiple 766 keywords are used, possibly in combination with Boolean logic 767 operators such as AND, OR, and NOT. For example, to focus in on 768 Rembrandt the artist, at the exclusion of pizza cafes, try the 769 following advanced search in Magellan: 771 Rembrandt AND artist AND portrait NOT pizza 773 Note that the method of entering search items differs slightly 774 from service to service. When trying a new service, check the 775 available help topic before searching. And as with any new skill, 776 practice, practice, practice! 778 Test of search scope: 779 Lycos: rembrandt. 1837 relevant documents 780 Lycos: rembrandt and artist and portrait 6 relevant documents 781 Yahoo: rembrandt 2 Catagory and 39 site matches 782 Yahoo: rembrandt and artist 2 Catagory and 11 site matches 783 Magellan: rembrandt 666 results 784 Magellan: rembrandt and artist and portrait 39379 results 785 AltaVista: rembrandt about "10000" documents 786 AltaVista: rembrandt +artist +museum about "100" documents 787 WebCrawler: rembrandt. 347 matching "rembrandt" 788 WebCrawler: rembrandt and artist and portrait 21 matching documents 790 ++ Let them know that searching is an iterative process, keep going, 791 ++ from one search key and continue, multiple levels... part of the joy 792 ++ of the net, exploring the net. 794 4. Accessing the Internet 796 Accessing the Internet in terms of simply receiving, downloading, 797 and viewing files, uses most of the same tools (software and 798 hardware) needed to create files and make them available on the 799 Internet. This section, and the next, overlap in the areas of basic 800 hardware and software. 802 The Internet can be accessed in many comfortable ways: at school, 803 at home, at work, and even at trendy CyberCoffeeHouses. Accessing 804 the Internet is not synonymous with publishing and displaying on the 805 Internet, however. You may need different equipment for creating and 806 retrieving content. This section describes how to do both, but first 807 you will need to get your feet wet with Internet terminology. 809 A URL (Uniform Resource Locator) is a type of Internet 'address' 810 which identifies where a file (text, graphic, audio, video, etc.) 811 resides. The URL may look like 812 'http://www.machine.com/directory/file_name.extension.' Just like 813 humans who live in different types of residences: condominiums, 814 houses, mobile homes, igloos, etc., files reside in different types 815 of computer servers. (Computers that are connected to a network 816 (such as the Internet) and distribute information are generally 817 called servers.) Unlike a human address, the document's type of 818 residence must be identified in its URL. For example, if the 819 document lives on a World-Wide Web server, its URL will start with 820 http:// (which stands for HyperText Transfer Protocol). If the file 821 calls a File Transfer Protocol server home, its address will start 822 with ftp:// (for File Transfer Protocol). Other common residences 823 include gopher:// and telnet://. 825 After the type of residence is identified, the document's URL 826 describes the exact computer that houses the document. The name of 827 the computer contains letters or numbers unique to that computer. 828 This name is called an Internet Protocol (IP) address and describes 829 the type of neighborhood the computer resides in. For example, all 830 the servers that belong to a specific organization will contain 831 similar numbers (but each individual server will still contain a 832 unique identifier). This means that all the computers that are 833 associated with the US government will belong to the neighborhood 834 '.gov'. Computers in Canada belong to the '.ca' neighborhood. 835 Numerous neighborhoods around the world are given '.'distinctions. 837 Neighborhoods can be further divided into sections. For example, 838 all the servers at the White House in the US may have 839 '.whitehouse.gov'. To distinguish between all the servers at the 840 white House, another set of letters (or numbers) is needed: 841 'president.whitehouse.gov'. Thus, a WWW server at the White House may 842 have the URL: 'http://president.whitehouse.gov' . 844 But, this address just identifies the document's neighborhood; to 845 find its house, the URL must include more specific information. A 846 neighborhood is generally divided into streets. Likewise, a computer 847 server is divided into directories or folders. Steering through a 848 server to find a document may require many directories. For example, 849 a graphic may reside in a directory called 'icons'. (The names of 850 directories differ on all computers, but some standards prevail.) 851 If the graphic is called help.gif, its URL may be 852 'http://president.whitehouse.gov/icons/help.gif'. '.gif' is a 853 document extension that describes its format. Gif is short for 854 Graphic Image Format. Document formats include .html, .txt (for 855 text documents) .gif, .jpg (for graphics), .ram, .wav (for audio), 856 and others. 858 4.1 Getting Started 860 ++ Non-electronic media (magazines, etc.) containing pointers 861 ++ Organizations, pointers to cyber-cafes, educational institutions 862 ++ programs, etc. 863 ++ introduce viruses prior to 4.2 865 Creating online content involves moving your art into an 866 electronic format and then, perhaps, re-formatting it for the 867 Internet. For some art forms, the initial electronic step is fairly 868 painless: translating a short story, poem, novel (or any type of 869 creative writing that doesn't have much desktop publishing 870 formatting, for example) into HTML (HyperText Markup Language) is 871 fairly straight forward. Likewise, moving a computer graphic to the 872 Internet requires a converter program to make the graphic follow the 873 right format. Performing arts, sculpture, and other pieces that are 874 hard to capture on a computer disk, require more work and creative 875 thinking. 877 Much of the information needed to help you think creatively about 878 publicizing your work online is available in classes, books, local 879 Internet cafes, and on the Internet itself. Many Internet magazines 880 are available for subscriptions or individual issues can help get you 881 started. Most new bookstores and, to some extent, used bookstores 882 provide numerous volumes of Internet information. However, even the 883 most recently published books may contain outdated information. For 884 the latest 'standards' contact the IETF. 886 If you learn better by doing, rather than reading, you may be 887 interested in taking a HTML or Internet Introduction course at a 888 local college. Most larger metropolitan area schools provide classes 889 for the basics, which can also expose you to other artists. Make 890 sure you read the course description; some courses may only cover 891 accessing the Internet while you may want to actually be creating 892 documents. If not colleges in your area offer classes, contact the 893 computer science department or the continuing education office and 894 suggest a topic. If the school can attain enough support, they may 895 offer a class in the following semester. 897 Many Internet Service Providers (See Section 4.2) will offer free 898 classes to get you started accessing and sometimes creating on the 899 Internet. With the competition of Internet providers, you should be 900 able to find one or two that offer the classes you need. 902 Artists in smaller communities may need to rely more heavily upon 903 online sources of information. To learn about using the Internet, 904 you may want to use point a WWW browser to ??? 906 ++ 908 For more information creating your own content, the following 909 sites should be helpful: ??? 911 ++ 913 If your hometown college does not offer classes about the Internet, 914 you may still be able to find a helpful outlet. When several 915 students from large universities returned home to Taos, NM, a couple 916 summers ago, they left behind their Internet connections. Fearing 917 that they would have withdrawal symptoms, they approached the owner 918 of a local bakery and suggested he start an Internet room where he 919 could charge surfers by the hour to use the Internet. The 920 entrepreneurial baker applied for a governmental grant and received a 921 couple computers with high speed modems. 923 You may be able to find CyberCafes (rather than building one) by 924 talking with local people or reading the 'Computer Science' magazine. 925 Unfortunately, this local newsletter is generally only available in 926 large Metropolitan areas in the United States (North America?) You 927 may need to surf the Internet to locate the cafes. One searchable 928 index of cafes is available via the Yahoo web page at: 930 http://www.yahoo.com/Society_and_Culture/Cyberculture/Internet_Cafes/ 931 Another list of Internet Cafes is available at 932 http://www.cyberiacafe.net/cyberia/guide/ccafe.htm. 934 You may want to use a web crawler, or web search engine, to find a 935 cafe. Yahoo is a common search engine (http://www.yahoo.com). In 936 the search field type the name of the city/state/country and 937 'Internet Cafe' or 'CyberCafe'. The newsgroup alt.cybercafes should 938 also provide some helpful information. The cafes, some of which 939 offer a local bulletin board (either online or on the wall), provide 940 a great atmosphere for discussing Internet issues. 942 4.2 Internet service providers 944 Being an Internet Service Provider (ISP) these days is pretty easy 945 and can be financially worthwhile, so there are alot of them, and 946 they are starting and failing every day. In addition to the 947 information and pointers you will find in this document, many 948 organizations exist to help you locate, and choose a service 949 provider. In any case, be sure to get references, not only for the 950 ISP but also for the organizations who recommend them. Some 951 organizations exist solely to recommend those who pay them. 953 ++ Include pointers to providers lists 954 ++ include a discussion about Free-Nets and public access sites 955 ++ Michael will try to track Free-Nets down for Canada 956 ++ libraries, community centers, etc. 957 ++ provide basic information about the process for locating ISP's 958 ++ Include International 959 ++ research lists to lists of isp's. 961 The following is sent out by the IANA in response to a request for 962 an IP network number assignment. 964 You should get your IP address (a 32bit number) from your network 965 service provider. 967 Your network service provider works with a regional registry to 968 manage these addresses. The regional registry for the US is the 969 Internic, for Europe is RIPE, for the Asia and Pacific region is the 970 AP-NIC, and parts of the world not otherwise covered are managed by 971 the Internic. 973 If for some reason your network service provider does not provide you 974 with an IP address, you can contact the your regional registry at one 975 of the following addresses: 977 Internic 978 RIPE 979 AP-NIC 981 Please do contact your network service provider first, though. 982 The regional registry will want to know all the gory details about 983 why that didn't work out before they allocate you an address 984 directly. 986 ++ newspapers, consultants, get references, ipnic, telephone companies 987 ++ electronic arts organizations - Jonathan Kean "will look at it" 989 4.3 Computer Software and Hardware Tools 991 A basic computer system consists of a box containing a Central 992 Processor Unit (CPU), MotherBoard, and Floppy Drive. It will also 993 come with a keyboard, and you will need a Hard Drive, Memory, and a 994 Video Monitor. How much memory, how large a hard drive, and how 995 fabulous a monitor, will vary with your needs and experience. 997 To connect to an ISP you will also need a modem and a phone line. 998 Your normal telephone line will do, but if you have call-waiting you 999 may want to disable it for the duration of your networking session so 1000 that you do not lose data to a lost connection. 1002 There are many types of computers available including PC's, Macs, and 1003 other Workstations. The most affordable systems are generally PCs 1004 and Macs. You may also need to choose an Operating System (OS) for 1005 the machine you choose. 1007 Personal Computers (PCs) can run a version of DOS, anything from 1008 Microsoft(R), or a version of Unix (BSDI, FreeBSD, Linux, etc.) Apple 1009 MacIntosh computers can run the common Mac Windows, or Apples version 1010 of Unix. Workstations generally run a Unix derived OS. 1012 With any system, you should ensure that it contains the software and 1013 hardware necessary to maintain both itself and your data. While 1014 computer data is not particularly fragile, it is still sometimes lost 1015 due to hardware/software problems or simple human error. For this 1016 reason it is considered important to "backup" your system by making 1017 extra copies of important data. While simply copying data onto 1018 floppy disks could work, the small storage size of the disks makes it 1019 too much work and too prone to human error for this important job. 1020 Many large capacity disk or tape drives are available with special 1021 software specifically for doing backups. It is highly recommended 1022 that you purchase a backup solution along with your computer. 1024 It is also important to protect your data from being damaged by 1025 computer viruses. When you connect to the net and move data back and 1026 forth, it is possible that there can be a small piece of software 1027 (called a virus) that could hide in some of the data and "infect" 1028 your system, possibly then using your system to infect other machines 1029 that you connect to. These viruses are often created by misguided 1030 youths as a sort of computer prank, and can accidentally or 1031 maliciously damage your data. Fortunately it is possible to buy 1032 virus checking software that can regularly scan your system to see if 1033 it has been infected. This software is important if you are going to 1034 be downloading information from the net. 1036 Determining your ideal hardware and software configuration will 1037 take some time and patience. You need an understanding of what you 1038 can, and wish to, create, and how. 1040 You'll also want to know the limitations and expandability potential 1041 of the system, so you can determine if it will have a useful 1042 lifespan. If the machine cannot grow for the foreseeable few years, 1043 it will become obsolete before its given you its fullest value. 1045 Depending upon your needs, you may require special hardware installed 1046 in the machine, or attached externally by cables. These additional 1047 pieces of hardware are known as peripherals. 1049 The peripherals needed for accessing information on the Internet 1050 might include the following: 1052 - a sound card and speakers (to hear sounds, music, speech, etc.) 1053 - a CD-ROM player (to read stored images of artwork) 1054 - midi equipment for audio artists 1055 - video equipment for participating in video forums 1056 - Other equipment for creating content See Section 5 1058 Most of these peripherals will require specialized software. If you 1059 plan to purchase all the hardware and software at once, find a vendor 1060 who will connect and test all the hardware, software, and peripherals 1061 for you. Due to the complexity of these systems, they can be 1062 difficult to configure for the inexperienced user. 1064 4.4 Scanners, recorders, encoders/decoders, multimedia......... 1066 ++ need info. 1068 5. Creating Content 1070 As the hardware and software of the net becomes cheaper and better 1071 understood, the technology itself will become less important than the 1072 content which lives on the net. Many of the rewards of the internet 1073 will go to the people who create such content. 1075 There are two different ways to add content to the internet. One may 1076 start with pre-existing content (such as paintings or stories), and 1077 find a place for it, or one may create content specifically for the 1078 net (such as a web page). 1080 Let us for the moment assume that you have already created something 1081 which you would like to make available on the net. There are many 1082 ways in which you could do this. You could deal with agencies who 1083 provide this service professionally, find friends or others willing 1084 to do it for free, or get yourself on the net in some fashion and 1085 create a place for it yourself. 1087 If you chose to do it yourself, you will need your own computer and 1088 some form of internet access from an Internet Service Provider (ISP) 1089 or Web Space Provider (WSP). 1091 Once you have a place to put your content, you will need to put it in 1092 the right format. Images may have to be digitized, audio may have to 1093 be recorded into computer files, etc. (Section 5.2 discusses the 1094 various information formats in more detail.) While hardware, such as 1095 image scanners, are readily available, there are also many other 1096 options available. For example, most printing shops today can do 1097 high quality image scans and some WSPs may provide this as one of 1098 their services. 1100 If you are placing your content on the Web, a web page must be 1101 created for it in the form of an HTML document that references the 1102 content in the appropriate file format. While this is easy enough to 1103 do yourself, many WSPs also offer this service, and there are also 1104 independent web page designers who may be able to do a better job. 1106 ++ What you do will indicate the equipment needed and the format 1107 ++ you'll want to create. Intro to Software needed for use with 1108 ++ speakers, scanners, multimedia, etc. 1110 5.1 Getting Help: Consultants, Web Page Designers, Providers, etc. 1112 ++ Trusted judges of good consultants, web page designers, etc. 1113 ++ discuss with other artists 1114 ++ collectives 1115 ++ decide what you want 1116 ++ How to find them and choose them. 1117 ++ get references 1119 5.2 Basic design issues: Understanding Formats 1121 ++ List, define, and describe, formats and extensions... 1122 ++ Sound, Image, Text, Hypertext 1124 Some artists are actually using html as a medium in itself and are 1125 helping to push the boundaries of this medium creating perhaps a new 1126 bleeding edge in this technology. 1128 ++ What content exists now? What is a thumbnail? 1129 ++ Mention scanners, tablets, speakers, recorders, 1130 ++ encoders/decoders, slide reader video equipment, software needed, 1131 ++ wav, mpeg, jpeg, gif, jpg, Compression: jpg vs. gif 1132 ++ soundtracker mods aka .mod, J. "Sheer" Pullen 1133 ** Save in-depth for the appropriate subsection. 1135 ++ Don't forget Examples: How people are creating content ... 1137 5.3 Text and Hypertext 1139 ++ 1141 5.4 Graphic and Moving images 1143 ++ 1145 5.5 Music and Sound 1147 The World Wide Web supports audio data as well as visual data. The 1148 most obvious way to send audio across the net would be to use digital 1149 audio like that used for the Compact Disc or "CD". However, CD 1150 format digital audio requires 44,100 16 bit words per second for a 1151 mono signal, and twice that for a stereo signal. While there are 1152 many places where one can find digital audio in Windows ".wav", or 1153 the MacIntosh ".au" format, these files typically take a very long 1154 time to download even a few seconds of audio. The size of these 1155 formats makes them too inefficient for widespread use on the net 1156 today. 1158 It is however possible to do "useful" audio over the net. The 1159 emerging "de facto" standard seems to be _RealAudio_, based on the 1160 freely distributable server/player application, _RealAudio_ version 1161 2.0, developed by the Seattle based company Progressive Networks. 1162 First released in 1995, RealAudio allows useable digital audio in 1163 realtime over a 28.8 kB line, and has already been put into service 1164 on the home pages of most major record companies as well as in many 1165 niche applications. In addition, RealAudio provides a "Voice mode" 1166 optimized for understandable speech transmission over a 14.4kB line. 1168 Unfortunately the quality of _RealAudio_ leaves much to be 1169 desired. In particular, the sample rate in Music Mode is only 8Khz 1170 (as compared to CD quality 44.1 Khz), meaning that all high 1171 frequencies above 4khz are simply missing. The resulting audio is 1172 still pleasing to listen to, but sounds very dull and dark. 1174 More information about RealAudio can be found at www.RealAudio.com. 1176 Clearly Digital Audio is the way of the future, but until more 1177 bandwidth is available to the average person, it may not be the way 1178 of the present. Fortunately, at least in the area of music, there is 1179 an interesting alternative. 1181 MIDI (the Musical Instrument Digital Interface), as developed for 1182 electronic musical instruments (keyboards, samplers, drum machines, 1183 etc.) works well for certain kinds of music over the net. It 1184 involves sending no sound sources at all, just the description of the 1185 music -- kind of like the score, without the instruments. If the 1186 receiver has the right instruments on their computer (such as the 1187 sounds defined in the General Midi soundset found on many 1188 soundcards), they can play back the musical score. 1190 The big disadvantage to using MIDI is that other than the limited 1191 selection of sounds in the General Midi set, it is extremely 1192 difficult to make sure the music sounds more than approximately like 1193 the original. And there is no way to handle non-MIDI instruments 1194 such as guitar or voice, so it is useless to hear the new song by 1195 your favorite rock and roll band. 1197 The big advantage to MIDI is how fast it works over slow net 1198 connections. For example, five minutes of music, fits in a mere 30k 1199 file, and usually will not take more than a few seconds even on the 1200 slowest of dialup connections! This makes it ideal for applications 1201 such as networked games, or music to go along with a web page. 1203 There are many ways of embedding MIDI files into HTML documents, 1204 for WWW distribution. 1206 Anyone who wants to add MIDI to a page can choose to use existing 1207 public access MIDI file banks, of which there are many, or to produce 1208 new MIDI themselves. 1210 Crescendo is one package available for embedding MIDI files in 1211 HTML http://www.liveupdate.com Crescendo works for both MacIntosh and 1212 Windows. 1214 Helpful Links: Publicly Available Audio and Music Applications 1215 http://reality.sgi.com/employees/cook/audio.apps/public.html 1217 Music of J.S. Bach for keyboard 1218 ftp://ftp.cs.ruu.nl/pub/MIDI/SONGS/CLASSICAL/BACH/HARPSICHORD/ 1220 RISM (repertoire of manuscript sources), plus other access to 1221 online scholarly music resources. http://rism.harvard.edu/RISM/ 1223 Crescendo is used in the web pages at http://mcentury.citi.doc.ca 1224 along with a growing number of others. One very interesting use of 1225 Crescendo occurs on the Music Theory Online publication, a serious 1226 scholarly site for publishing and debating musicology and music 1227 theory. Articles there now routinely include short musical examples, 1228 a great sign of the future of scholarly publishing in the age of 1229 dynamic, interactive content. 1230 http://boethius.music.ucsb.edu/mto/issues/mto.96.2.4/ 1232 Formerly, debate on musical form and structure occurred in the 1233 pages of journals, referring usually to music examples in terms of 1234 its visual notation. This notation requires a certain degree of 1235 training to decode, effectively restricting the potential readership 1236 to those with this professional training. With sound examples 1237 embedded directly in the text, at least the aural effect of the music 1238 comes across, even to those unable to read the notation accurately. 1239 This shift is appropriate to the newer trends in music scholarship, 1240 which talk about music in terms of its social and cultural context, 1241 instead of only in formal terms. 1243 5.6 Content Design Issues 1245 ++ 1247 5.7 Publicizing your work 1249 ++ 1251 6. Issues and Challenges 1253 The Internet has many issues and challenges, among which are 1254 security, privacy, property rights, copyrights and freedom of speech. 1255 Security issues involve both the security of your data, as well as 1256 your image. Viruses can be transmitted easily over the net, and 1257 precautions should always be taken. If you choose to keep your own 1258 information available on the net it can be the subject of vandalism 1259 and theft. You may also find yourself being persecuted for the 1260 information you provide as more and more people join the Internet 1261 community and feel the need to impose their morality upon it. 1263 This is no different from any society. We must draw our own lines, 1264 and our own conclusions. This section is terribly brief, and 1265 entirely summary in nature, and is in no way intended to be 1266 comprehensive. It is intended to warn you and advise you. If you 1267 have real concerns about your property rights, copyrights, and/or 1268 personal rights, please do your own research. Internet laws are in 1269 such a state of flux that they are changing as I write this, and they 1270 will be changing as you read it. 1272 At last check, however, freedom of speech was prevailing in the 1273 United States, and so far the government has not upheld any laws 1274 prohibiting the exhibition of anything on the Internet. Support your 1275 local constitutional rights. 1277 6.1 Security Issues 1279 ++See Section 10. 1281 6.2 Viruses 1283 A "virus" is a program that modifies other programs by placing a copy 1284 of itself inside them. It cannot run independently. It requires 1285 that its host program be run to activate it. 1287 The damage caused by a virus may consist of the deletion of data or 1288 programs, maybe even reformatting of the hard disk, but more subtle 1289 damage is also possible. Some viruses may modify data or introduce 1290 typing errors into text. Other viruses may have no intentional 1291 effects other than replicating itself. 1293 Viruses can be transmitted over the Internet inside other programs, 1294 but usually they are transmitted by floppy disk. Your best bet is to 1295 purchase a really versatile and up-to-date virus checking program 1296 from your local software retailer, and run it over every floppy you 1297 plan to read, and every program you plan to run, as well as 1298 periodically over the entire machine. 1300 Computer viruses are enough like organic viruses that many of the 1301 same precautions apply. Early detection is key. Diligence will 1302 mitigate potential damage, but frequent incremental backups are your 1303 best strategy for recovery. 1305 6.3 Rights 1307 ++ Intro to protecting your copyright on the Internet. 1309 ++ References: Copyright law, cases, etc. 1310 ** Remember Laws on Intellectual property are constantly changing! 1311 ++ examples of: copyright, trademark, disclaimers, international 1312 ++ concerns big issue re: other countries who do not recognize US law 1313 ++ goes both ways... respecting others copyrights 1315 ++ The implications of the Telecom Reform Bill with regard to 1316 ++ Freedom of Speech. 1317 ++ Censorship issues, need *your* help. 1319 ++ INTERNATIONALIZE: ie: Canada will not allow the import of anything 1320 ++ that is "degrading" to women. Etc. 1322 6.4 Conducting Business over the Internet 1324 ++ Secure transaction are possible, pointers to pgp, etc. 1326 6.5 Netiquette 1328 ++ The Responsible Use of the Network document outline, and pointers. 1329 ++ ie: AVOID SHOUTING 1331 FYI 28 "Netiquette Guidelines", (Also RFC 1855), October 1995. 1333 ++ It never hurts to keep silent until you know your audience better. 1334 ++ Not being offended by others, ie: don't take it personally 1335 ++ keeping in mind international cultural differences, etc. 1337 7. Glossary 1339 ++ point to userglos, trainmat, and useful stuff that needs to be on 1340 ++ the same doc. for ease of use 1342 FYI 29 "Catalogue of Network Training Materials", (Also RFC 2007), 1343 October 1996. 1345 FYI 22 "Frequently Asked Questions for Schools", (Also RFC 1941), 1346 May 1996. 1348 FYI 18 "Internet Users' Glossary", (Also RFC 1983), August 1996. 1350 ** words contained within this document which need to be defined for 1351 ** the audience: Boolean, 1353 8. Resources 1355 ++ Places to find more information of use and interest. 1356 ++ specific arts and humanities studies, projects, programs, getty 1357 Much of the information provided by this document was gathered 1358 from other documents. Wherever important to the discussion, a 1359 pointer to the document was given, however, many more documents are 1360 available on many other topics. 1362 8.1 Request for Comment 1364 One of the most important collections of informational documents 1365 about the Internet are written as Requests for Comment by the 1366 Internet Engineering Task Force. The name Request for Comment is 1367 historical, as these documents are submitted by their authors' for 1368 the approval of the Internet community as Internet Standards, and 1369 valid Informational RFCs called FYIs, of which this document is one. 1370 Basically, if the IETF collective uses a tool or resource, they 1371 document its use in an RFC so that there is no mystery to its 1372 functionality, uses, designations, specifications, or purposes. 1374 More information on RFCs, FYIs, the IETF, and its organizations, 1375 documents, policies and purposes can be found in the RFCs themselves, 1376 by a number of means. 1378 8.1.1 The ISI RFC-INFO service 1380 There are many way to get copies of RFCs over the Internet (see 1381 ConneqXions, Vol.6,No.1, January 1992). Most of these simply access 1382 a directory of files where each RFC is in a file. The searching 1383 capability (if any) is limited to the filename recognition features 1384 of that system. 1386 The ISI RFC-INFO server is a system you can search for an RFC by 1387 author, date, or keyword (all title words are automatically 1388 keywords). 1390 RFC-INFO is an e-mail based service to help in locating and 1391 retrieval of RFCs and FYIs. Users can ask for "lists" of all RFCs 1392 and FYIs having certain attributes ("filters") such as their ID, 1393 keywords, title, author, issuing organization, and date. Once an RFC 1394 is uniquely identified (e.g., by its RFC number) it may also be 1395 retrieved. 1397 To use the service send e-mail to RFC-INFO@ISI.EDU with your requests 1398 in the body of the message. Feel free to put anything in the 1399 SUBJECT, the system ignores it. (All is case independent.) 1401 See Appendix C. Examples for using the RFC server RFC-INFO@ISI.EDU 1403 9. References 1405 ++ should we create [#] footnotes?? i.e.: ISN doc, etc. 1407 ++ reference the publications and/or sites of key 1408 ++ arts and humanities organizations (e.g. Getty, NINCH) 1410 10. Security Considerations 1412 ** jkrey points to site sec. handbook: 1413 ** "The "current" Work in Progress for the Site Security Handbook WG 1414 ** is the I-D - draft-ietf-ssh-handbook-03.txt. This group is 1415 ** working on a companion document for the "user". Stay tuned for 1416 ** the I-D. They should have that out before San Jose." 1418 There are a wide variety of ways in which systems can be violated, 1419 some intentional, some accidental. Of the intentional attacks, a 1420 portion may be exploratory, others simply abusive of your resources 1421 (using up your CPU time) but many are actively malicious. No system 1422 is 100% safe, but there are steps you can take to protect against 1423 misconfigured devices spraying packets, casual intruders, and a 1424 variety of focused assaults. 1426 Your best defense is to educate yourself on the subject of 1427 security. There are places on the net devoted to teaching users 1428 about security - most prominently, the CERT Coordination Center 1429 located at the Software Engineering Institute at Carnegie Mellon 1430 university. You can point your web browser (or direct your ftp 1431 connection) to ftp://info.cert.org/pub/cert_faq to start. This is a 1432 frequently asked questions guide and general overview on CERT. It 1433 includes a bibliography of suggested reading and a variety of sources 1434 to find more information. 1436 Next, you should probably read 1438 ftp://info.cert.org/pub/tech_tips/security_info 1440 which contains a (primarily based on the UNIX operating system) 1441 checklist to help you determine whether you're site has suffered a 1442 security breach. You can use it to guide you through handling a 1443 specific incident if you think your system has been compromised or 1444 you can use it as a list of common vulnerabilities. CERT also 1445 maintains a wide variety of bulletins, software patches, and tools to 1446 help you keep up to date and secure. 1448 Before you are even online, you should consider some basic steps: 1450 10.1 Formulate a security policy. 1452 It should include policies regarding physical access procedures, 1453 security incident response, online privileges and back-up media. Put 1454 a message at the login to establish your policy clearly. 1456 An example: 1458 "This system is for the use of authorized users only. It may be 1459 monitored in the course of routine operation to detect unauthorized 1460 use. Evidence of unauthorized use or criminal activity may result in 1461 legal prosecution." 1463 10.1.1. Talk to your Internet Service Provider. 1465 Depending upon your provider and router management situation, there 1466 are a number of things your ISP should be able to do for you to make 1467 your site more secure. Foremost, packet filtering on the router that 1468 connects you to the internet. You will want to consider IP filters 1469 to allow specific types of traffic (web, ftp, mail, etc.) to certain 1470 machines (the mailhost, the web server, etc.) and no others. Other 1471 filters can block certain types of IP spoofing where the intruder 1472 masks his or her identity using an IP address from inside your 1473 network to defeat your filters. Discuss your concerns and questions 1474 with your provider - the company may have standards or tools they can 1475 recommend. 1477 10.1.2. Make sure your systems are up to date. 1479 A significant number of incidents happen because older versions of 1480 software have well-known weaknesses that can be exploited from almost 1481 anywhere on the internet. CERT provides a depository for software 1482 patches designed by concerned net.citizens, CERT's engineers and by 1483 the vendors themselves. 1485 10.1.3. Use the tools available. 1487 Consider recording MD5 checksums on read-only media (the MD5-digest 1488 algorithm determines an electronic "fingerprint" for files to 1489 indicate their uniqueness -comparing more recent checksums to older 1490 ones can alert you to changes in important system files), installing 1491 tripwire on your systems (notes size and MD5 checksum changes, among 1492 other sanity checks), and periodically testing the integrity of your 1493 machines with programs an intruder might use, like SATAN and crack. 1494 [Details on MD5 are contained in RFC 1321.] 1496 Most files and fixes go through the basics before leaving you to 1497 figure things out on your own, but security can be a complicated 1498 issue, both technically and morally. When good security is 1499 implemented, no one really notices. Unfortunately, no one notices 1500 when it's not taken care of either. That is until the system 1501 crashes, your data gets corrupted, or you get a phone call from an 1502 irate company whose site was cracked from your machines. It doesn't 1503 matter if you carry only public information. It doesn't matter if 1504 you think you're too small or unimportant to be noticed. No one is 1505 too small or too big, no site is immune. Take precautions and be 1506 prepared. 1508 11. Acknowledgments 1510 Joseph Aiuto 1511 Michael Century 1512 Kelly Cooper 1513 Lile Elam 1514 Dan Harrington 1515 Julie Jensen 1516 Walter Stickle 1518 12. Authors' Address 1520 Janet Max 1521 jlm@rainfarm.com 1523 Scott Stoner 1524 stoner@artsedge.kennedy-center.org 1526 Appendix A. 1528 ++humanities computing projects, research projects, 1529 ++text encoding project (michael century) need to maintain perspective 1530 ++of the historic art archives and the "current" art in culture 1531 ++AHIB? Marty Harris, Susan Sigfried NIDGE? 1533 Examples of Projects on the Internet of Interest to the Arts and 1534 Humanities Communities 1536 The commonplace insight about the web as a new distribution 1537 channel for cultural products is that it effaces the traditional 1538 border between producer and consumer. Publishers exploit two-way 1539 interactivity by re-designing the editorial mix to include reader 1540 response. Here follows some examples of the way creative artists 1541 attempt to design structures flexible enough for significant viewer 1542 input. 1544 RENGA (http://renga.ntticc.or.jp) - An inspired transposition of a 1545 traditional collaborative writing practice into the realm of digital 1546 media supported by the NTT InterCommunication Centre in Tokyo. Renga 1547 means linked-image or linked-poem, and draws on the Japanese 1548 tradition of collaboration which effaces the unique notion of 1549 original author. 1551 PING (http://www.artcom.de/ping/mapper) - by Art+Com, a Berlin 1552 based media centre and thinktank. Art+Com is a leader in producing 1553 high-end net visualization projects. Ping lets the browser add a 1554 link, which then becomes a part of the ongoing visual structure. It 1555 is similar, in this sense, to the Toronto Centre for Landscape 1556 Architecture's OASIS site. 1558 Art+Com's T-Vision project (http://www.artcom.de/projects/terra) 1559 which uses satellites and networked VR computers to permit an 1560 astonishing fly-in to earth from space: acclaimed as one of the most 1561 imaginative realizations of the potential of networked computing. 1563 OASIS(Image)INTERNET-DRAFT Toronto Centre for Landscape 1564 Architecture's OASIS site requires a specialized browser, but from a 1565 standard Netscape connection, you can view stills that give a sense 1566 of the beautiful images produced by the collaborative "design 1567 process". It is introduced by its designers as follows: 1569 Oasis is a shared 3-Dimensional navigational environment for the 1570 world wide web. This virtual landscape allows one to bury their own 1571 information links throughout the terrain or to discover and connect 1572 to new information left by others. 1574 TechnoSphere (http://www.lond-inst.ac.uk/TechnoSphere/) Is 1575 TechnoSphere a Game? 1577 Yes and no. It's an experiment on a global scale, a chance to 1578 develop complex artificial life on digital networks. TechnoSphere is 1579 interactive like a game, but transgresses the linear boundaries of 1580 branching and hierarchical games narrative to enable freer movement. 1581 TechnoSphere is designed to encourage a non-linear experiential 1582 exploration. 1584 Body Missing (http://yorku.ca/BodyMissing/index.html) 1586 Toronto artist Vera Frenkel created this richly evocative site on 1587 the disappearance of art and memory as an extension of her Transit 1588 Bar installation. It is conceived as a site open to new 1589 'reconstructions' of the artworks confiscated during the Third Reich. 1590 First opened to the public as part of the ISEA95 exhibition in 1591 Montreal, it has since earned widespread critical comment and praise. 1593 Molecular Clinic 1.0 1594 (http://sc_web.cnds.canon.co.jp/molecular_clinic/artlab_bionet) 1596 Molecular Clinic 1.0 ' is an art project realized through a 1597 collaboration between ARTLAB and Seiko Mikami, and is one of the most 1598 elaborate custom designed art projects yet created for the Web. 1599 During their initial visit users should download the MOLECULAR ENGINE 1600 VIEWER, which is a type of molecular laboratory for their computer. 1601 What they will see on the web site after this initial download is a 1602 virtual space containing a three dimensional computer generated 1603 Spider and Monolith object. The user will be able to navigate 1604 through and into this virtual space and can zoom into the spider all 1605 the way to the molecular level. 1607 File Room (http://fileroom.aaup.uic.edu/FILEROOM.html) - 1608 Cumulative database info on Censorship, hosted in Chicago but 1609 conceived by Spanish artist Antoni Muntadas. 1611 Idea Futures (http://if.arc.ab.ca/~jamesm/IF/IF.html) - 1613 Winner of the grand prize at the 1995 Ars Electronica competition 1614 for Web Sites, Idea Futures is a stock market of ideas, based on the 1615 theories of mathematical economist Robin Hanson. The 'truth' of any 1616 claim is assigned a weight calculated by the amount of virtual cash 1617 which members of the exchange are willing to bet. The scheme leads 1618 might lead toward a radical democratization of academic discourse, 1619 but just as easily, toward the trivialization of thought. See the 1620 following for a philosophical critique of the system. 1621 (http://merzbau.citi.doc.ca/~henry/Matrix/Erewhon.html) 1623 Firefly (http://www.agents-inc.com/) also a prize winner at Ars 1624 Electronica in 1995, Firefly is an prototypical example of what 1625 enthusiasts call a "personal music recommendation agent", which makes 1626 suggestions for what you might like to listen to, based on a stored 1627 profile of your own likes and dislikes, and the evolving ratings 1628 submitted to the system by other members. Worth visiting, if only to 1629 understand what all the fashionable hype about 'intelligent agents' 1630 is all about; skeptics should know that even the promoters of these 1631 services admit the circularity of their systems: they're capable of 1632 reinforcing existing taste, but little else. 1634 Appendix B: Some other URL's of interest 1636 Arts on the Net 1637 http://www.art.net/Welcome.html 1638 Artist Memorials 1639 http://www.cascade.net/kahlo.html 1640 Writers 1641 http://the-tech.mit.edu/Shakespeare/ 1642 http://www.rain.org/~da5e/tom_robbins.html 1643 Photography 1644 http://www.nyip.com/ 1645 Personal Journals 1646 http://grateful.dead.net/RobertHunterArchive.html 1647 http://www.cjnetworks.com/~jessa/ 1648 Musical Groups 1649 http://www.dead.net (Grateful Dead) 1650 http://www.netspace.org/phish/ (Phish) 1652 Appendix C: 1654 To get started you may send a message to RFC-INFO@ISI.EDU with 1655 requests such as in the following examples (without the explanation 1656 between []): 1658 Help: Help [to get this information] 1660 List: FYI [list the FYI notes] 1661 List: RFC [list RFCs with window as keyword or 1662 in title] 1663 keywords: window 1664 List: FYI [list FYIs about windows] 1665 Keywords: window 1666 List: * [list both RFCs and FYIs about windows] 1667 Keywords: window 1668 List: RFC [list RFCs about ARPANET, ARPA 1669 NETWORK, etc.] 1670 title: ARPA*NET 1671 List: RFC [list RFCs issued by MITRE, dated 1672 1989-1991] 1673 Organization: MITRE 1674 Dated-after: Jan-01-1989 1675 Dated-before: Dec-31-1991 1676 List: RFC [list RFCs obsoleting a given RFC] 1677 Obsoletes: RFC0010 1678 List: RFC [list RFCs by authors starting with 1679 "Bracken"] 1680 Author: Bracken* [* is a wild card matches everything] 1681 List: RFC [list RFCs by both Postel and Gillman] 1682 Authors: J. Postel [note, the "filters" are ANDed] 1683 Authors: R. Gillman 1684 List: RFC [list RFCs by any Crocker] 1685 Authors: Crocker