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Checking references for intended status: Informational ---------------------------------------------------------------------------- No issues found here. Summary: 10 errors (**), 1 flaw (~~), 3 warnings (==), 1 comment (--). Run idnits with the --verbose option for more detailed information about the items above. -------------------------------------------------------------------------------- 1 INTERNET-DRAFT J. Max 2 HARTS Working Group Rainfarm 3 Category: Informational S. Stoner 4 ArtsEdge 5 May 1997 6 Expires November 1997 8 Humanities and Arts: Sharing Center Stage on the Internet 9 [draft-ietf-harts-guide-02.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 your work with others............................... 10 74 2.5 Communicating about the arts................................ 10 75 2.6 Collaborating............................................... 9 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 Multimedia.................................................. 22 98 5. Creating Content............................................ 23 99 5.1 Getting Help................................................ 23 100 5.2 Basic Design Issues: Understanding Formats.................. 24 101 5.3 Text and Hypertext.......................................... 24 102 5.4 Graphic and Moving Images................................... 24 103 5.5 Music and Sound............................................. 24 104 5.6 Content Design Issues....................................... 26 105 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." 199 The beginnings come from the US Department of Defense's desire to 200 transport government and military information during the time of a 201 "nuclear event". Thus the Advanced Research Projects Agency was 202 formed, which created ARPANET. From this, over the next 26 years or 203 so, grew the network known as "The Internet", now dubbed the 204 "Information Superhighway". There are several million computers 205 connected and over 40 million users. 207 The common language or "Communication Protocol" which these 208 computers on the Internet speak, is the Internet Protocol, or IP. 210 This is the underlying layer which allows transmission of diverse 211 data, information, text, pictures, sound, etc. to be passed between 212 otherwise incompatible machines. 214 The Internet should not be confused with America OnLine (AOL), 215 CompuServe, Prodigy, and other type service providers, which may use 216 their own, often proprietary, protocols and are sites unto themselves 217 but may have connections to the Internet. The Internet should also 218 not be confused with the World Wide Web which is the topic of the 219 next section. 221 1.3 What is the World Wide Web? 223 The World Wide Web, often called, "The Web" is a vast multimedia 224 document distributed among a large number of the computers on the 225 internet. This document is in a format called HyperText which allows 226 information in the web to be linked by words or pictures viewed on 227 the computer. 229 The Web is broken up into a large set of pages (Web Pages) of 230 information connected by HyperText "Links" which let you click on a 231 highlighted word or picture to call up a page of related information. 232 This is what differentiates HyperText from "normal" text. In 233 "normal" text, each sentence or idea is connected in a single 234 sequence or "train of thought", from beginning to end. In HyperText 235 however, the flow of ideas branches out, so that each idea may be 236 connected to many different "trains of thought" that jump from link 237 to link. This allows you to read HyperText documents, in a way more 238 naturally resembling human thought. 240 There is no central hierarchy that organizes the Web. Instead, the 241 information is distributed among many "Web Sites" created and used by 242 the many people involved. A Web Site is much like a magazine in that 243 it has a Front Page, called the Home Page, and may have many other 244 pages of related information that can be connected in whatever way 245 the author wishes. 247 For example, you could create a "Cool Music" Web Page and place it on 248 a Web Server, which can be any computer somewhere on the internet 249 running software to provide access to the resident Web Pages. Anyone 250 on the internet could then use a piece of software called a Web 251 Browser to ask the Web Server to look at your Home Page. 253 This Home Page could be a striking artwork featuring a list of your 254 favorite albums and a few labeled buttons. While your music plays 255 from their speakers they choose to click on any album that catches 256 their eye, or go to lists of information sorted by Artist, Label, or 257 Genre. Once they get to the page for any particular album, they 258 would see the artwork, a song list, and many other links to follow. 259 Clicking on a song could pull up the song lyrics, or perhaps even 260 download parts of the song. Or they could follow a link from your 261 page to the HomePage of the artist's record company, or to magazines 262 that have interviewed the band. If the information is out there, 263 your page could link to it. 265 Web pages are written in a format called HTML, the HyperText Markup 266 Language. This is a protocol for putting special symbols into a text 267 document that specify links to other pages, fonts to use, images to 268 load, and many other things. It is simple enough that most people 269 can learn to use it, but rich enough in possibility that there will 270 always be a thriving community of people making web pages for others. 272 In order to download information from distant places in the internet, 273 your computer will be using a protocol called HTTP, the HyperText 274 Transfer Protocol. HTTP was designed to allow web browser software 275 to connect to web server software on another machine and request the 276 transmission of a web page in the form of an HTML document and any 277 associated images, audio, video, etc. 279 Since any part of a page can link to any accessible data on the 280 Internet, each link must include a reference to exactly where on the 281 internet the information is. This is the job of the Uniform Resource 282 Locator, URL. The URL is very much like your home address. When you 283 tell someone your "address", you give your postal code, 284 country, state, town/city, street, building, and your name. 286 A URL is a machine readable (and hence somewhat cryptic) text string 287 which tells both people and machines where to find the information. 288 It contains the name, directory, machine, host address, and the 289 protocol for accessing that information. URLs usually take the form 290 "http://www.something.com", where "www" indicates the locations World 291 Wide Web server, "something" indicates the name of the organization 292 who runs it, and "com" indicates that that organization is a Company. 293 Other extensions which indicate types of organizations, are ".gov" 294 for US government sites, ".edu" for educational sites, and ".org" for 295 other organizations such as "not for profit", etc. There are also 296 specific extensions for each country in the world, such as ".CA" for 297 sites in Canada, ".nl" for sites in the Netherlands, etc. 299 http in this example is the protocol used to access it. Since http is 300 the primary protocol of the web, many browsers now assume it, and you 301 will likely only need to know the protocol being used if its 302 different from http. Other protocols include "ftp", the File Transfer 303 Protocol, and "gopher" which are both text based, rather than graphic 304 based. (See also Section 3 - Forums) 306 After the communication protocol and site address are identified, the 307 document's URL can go on to specify a particular page at the site. 308 The example above will retrieve www.something.com's default homepage, 309 usually index.html. The .html extension on that filename indicates 310 that the file is formatted with the HyperText Markup Language. Other 311 file extensions might be .txt for standard format Text files, .gif for 312 Graphic Image Format files, .jpg, another graphics format, .wav for 313 certain audio files, and many others. 315 You can start browsing the Internet, or "surfing" as its often 316 called, by entering a URL into your web browser, which will download 317 the appropriate file. If you then select a link, your browser will 318 read the URL built into the page itself, and use it to find and 319 access the appropriate information. 321 At last check there were hundreds of thousands of web sites, home 322 pages, and hosts on the Web. The contents of those sites are almost 323 as varied. Some pages are personal pages containing photos of family 324 members, lists of hobbies, or the sharing of collections such as song 325 lyrics. Some pages are strictly business, selling everything from 326 abalone to zymoscopes. (If you're interested in doing business over 327 the Web, please read Sections 6 and 10 on Security.) Still other 328 pages provide services such as information searches, and weather 329 reports. 331 2. What does the Internet mean to the Artist? 333 The internet is exerting a profound influence on our society. Human 334 culture is based on communication, and the widespread availability of 335 information and the thought-like constructions of HyperText are the 336 most powerful new ideas in communication since the invention of 337 writing. A glance back at history will easily show how written 338 language has shaped our societies. These results are only a 339 foreshadowing of the things to come. 341 Even now in its infancy, the effects of the internet can be easily 342 seen in popular media as well as in the way we do business. But the 343 most dramatic influences are in the children who are now growing up 344 with the net. Many parents are aware of the influence television has 345 over their children. Eventually the net may become a superset of all 346 TV, but with added power to inform as well as entertain. If we raise 347 the internet right, it will return the favor by nurturing a 348 generation that may well grow up wiser than ourselves. 350 And so we have a great responsibility to make sure that the best 351 parts of human culture are represented on the internet. Because the 352 net is still primarily created and run by Scientists and Engineers 353 who are creatures of mind, it is the heart and soul of the internet 354 that needs help. Artists are the heart and soul of human culture, 355 and must bring the fruits of their efforts to the net to give the net 356 culture (and future generations) their essence of humanity. 358 And if that doesn't convince you, we will also show that there are 359 many ways in which artists may exploit the net for their own personal 360 gain. As the online culture becomes a more balanced representation 361 of humanity, the net will become an essential tool for collaboration, 362 communication, and distribution of art. The day is coming where 363 those who are not on the net will be greatly handicapped in the 364 expression and distribution of their art. 366 A great many visual and performing arts institutions and 367 organizations have now established sites on the World Wide Web and a 368 significant number of online discussion groups focus on the arts and 369 humanities. Consortiums of museums and libraries are now using 370 networking technologies to support research and projects involving 371 more effective ways to collect, store, and disseminate objects of 372 antiquity and other non-textual primary sources, as well as textual 373 sources. 375 Thousands of sites are also created by individuals and for 376 institutions, organizations, and businesses for reasons ranging from 377 commerce to simple self expression. The net is the new frontier for 378 the growth of humanity. Can you afford not to be involved? 380 2.1 Access to the Global Community 382 Access to art is no longer constrained by vicinity. Hang out your 383 electronic shingle and just imagine who might drop in. The Internet 384 connects hundreds of countries, thousands of cities, and countless 385 groups and individuals around the globe. People all around the world 386 will be looking for what they want on the net, and if you have what 387 they want, then through the magic of the net, you are their next door 388 neighbor. 390 The Internet explorer will find that more and more sites are becoming 391 multilingual. The Internet provides a forum in which diverse 392 cultures can merge, and allows the explorer to visit faraway places 393 from the privacy and safety of their own computer. 395 2.2 Discovering the work of others 397 Once you have the basic tools for using the Internet (See Section 398 4) you will begin to understand how easy, helpful, informative, and 399 exciting it can be. With a few quick strokes you have accessed a 400 great library, museum, or gallery, toured a faraway city, or looked 401 up an old friend. You might find an out of print book you have 402 always wanted, then either read it on your computer screen, or print 403 it out on your printer. If you do not have a printer, simply save it 404 to your floppy disk and bring that to a shop or friend with a 405 printer. Its really that easy. 407 You could spend the afternoon at the Smithsonian, or the Louvre 408 without ever leaving your chair. For a more athletic adventure, you 409 could put your computer in front of your treadmill, and jog through 410 the online Olympics site. 412 When you are ready, you can explore deeper. Follow other links to 413 smaller sites, lesser known writers, artists, poets, and thinkers, 414 and discover the emerging world they are creating. With the proper 415 tools you can even view moving pictures, and listen to music and 416 other audio. 418 With access to the Internet, the world is at your fingertips. Even 419 more than art, literature, and humor, online is information. Bring 420 your questions on health, the environment, government, and religion, 421 and look though volumes of documentation on your concerns, or discuss 422 your questions with others electronically. Once you get used to it, 423 you will even be downloading more information and tools to assist you 424 further. 426 Examples of sites to explore, and good starting points can be found 427 in Appendices A and B. 429 2.3 Access to Freely Available Software, and Other Information 431 There is a world of useful software available to you via the 432 Internet. Known as Shareware, Public Domain, or Freely Copyable, you 433 can find many software programs you may download and use on your own 434 machine, often completely free, occasionally for a small and/or 435 optional fee which helps the author to afford to create more software 436 for general use. There are also libraries, stores, and news groups 437 you can peruse in search of just the tool or information you want. 439 As you explore the Internet, you will begin to find information that 440 is beyond your reach without the right tools for viewing, listening, 441 etc. For example, someone may have put up a sound file using a 442 format which cannot be recognized by the software you have installed. 443 In these cases, that person will often have included a pointer to the 444 exact tool necessary to recognize their format, or convert the 445 format, and you can download, install, and use this tool right away. 447 Using the basic tools acquired to access the Internet (See Section 448 4), you can begin to add to your collection software tools, both for 449 accessing the information already on the Internet, and for creating 450 your own content (See Section 5). 452 2.4 Sharing your work with others 454 There are many people both like, and unlike, yourself with whom you 455 can meet, communicate, and share ideas. Some like to just talk, you 456 can listen if you like. Others like to just listen, so you and 457 others can talk. 459 There are also many forms that communication can take, from 460 private electronic mail, to group video conferencing, to moderated 461 newsgroups, to public bulletin boards. See Section 3 for more 462 information on Electronic Forums. 464 Artists often want to share their work with other artists on the 465 Internet so that they will receive comments and recognition for their 466 work. It is a great place to explore new ideas with other artists as 467 well. Perhaps a painter has tried a new paint and has a review of 468 it, or has developed a new way to mix colors, or a photographer wants 469 to share how to get a difficult shot. Perhaps you would like to 470 locate a rare album, or debate one musicians merit over anothers. 472 There are many types of content that artists can share. Including: 474 - text: stories, poetry, historic accounts, transcripts, etc. 475 - images of their visual work: paintings, photographs, 476 sculpture 477 - images of themselves: photographs, self-portraits 478 - sound files of their audio works or voice presentations of 479 their works: books on tape, speeches, tutorials, music 480 - moving pictures: video arts, performance arts, etc. 481 - a description of their art process and works of art 482 - resume and/or biographical data 483 - contact information in the form of electronic mail address, 484 postal mail address, phone, etc. Electronic mail is most 485 popular because it allows people to respond spontaneously. 487 After you've met some of the global critics, and compared your work 488 with others, you may feel so bold as to share your work with others. 489 Perhaps emailing a manuscript to a publisher, or putting up scans of 490 your art will entice a buyer. Perhaps it will entice a critic to say 491 wonderful things about you to a buyer. 493 Perhaps putting your work on the Internet will bring fortune and 494 fame, or perhaps it will encourage others to put their work up. 495 Increasing the cultural content of the Internet will have profound 496 results in all areas of the Arts. 498 2.5 Communicating about the arts 500 Perhaps you prefer to discuss and compare the works of others with 501 producers, collectors, gallery owners or other professionals in your 502 field, or related fields. You might want to find out who's hot and 503 why. You could also find out where, and when shows, showings, 504 benefits, conferences, releases, signings, and performances are 505 taking place, or announce your own showing. 507 They say that for every artist, there is a critic, and you could meet 508 one, or be one, on the Internet. 510 2.6 Collaborating 512 There are many ways of collaborating over the Internet. There are 513 art and literature projects which explore the Internet by asking 514 people to put their feelings, thoughts, and ideas about the Internet 515 in, and there are projects which simply arrive, or are downloaded 516 over the Internet, in which people participate. 518 There are also games which are played over the Internet, by players 519 all over the planet. These types of games, which are described in 520 in greater detail in Section 3, can be both entertainment and a 521 learning experience. Some games offer players the opportunity to 522 alter the environment, so that ideas and information contained in 523 the game evolve over time into a jointly constructed experience. 525 3. Forums 527 Websters defines a forum as "A public meeting place for open 528 discussion." In the world that could be a park or an auditorium. In 529 the Internet, a forum will be electronic, but it may still feel like 530 a roomful of people. 532 Many forums exist on the Internet. There are interactive forums 533 where you can share information in real-time and carry on discussions 534 with others. There are message-based forums where you send or 535 receive a message and others involved in that forum can respond 536 later, and there are archived forums where information is stored, and 537 may be retrieved by anyone but modified only by its owner. 539 While we have attempted to list and describe a few of the more 540 popular forums, we have not created an exhaustive, complete, or 541 up-to-the-minute list here. You can find information on forums, 542 lists and sites in many magazines and books today. (See Section 4.1 543 - Getting Started) 545 3.1 Message-based Communications 547 In Message-based communication, a message is sent by one user, and 548 received by one or many. For example, you might send a dinner 549 invitation to an individual, a couple, or a group. In the same way, 550 you send electronic messages to individuals or groups. Just like 551 your Postal Service for physical mail, there are electronic mail 552 servers for electronic mail. Just like you have a physical address 553 to which your physical mail is sent, there is an electronic mail 554 address to which your electronic mail is sent. 556 Message-based Communications includes electronic mail, listservs, 557 newsgroups, and bulletin boards. 559 3.1.1 E-mail 561 Electronic mail (email) is a system whereby a computer user can 562 exchange messages with other computer users (or groups of users) via 563 a communications network. 565 Typical use of email consists of downloading messages as received 566 from a mailbox or mail server, then reading and replying to them 567 solely electronically using a mail program which behaves much like a 568 word processor for the most part. The user can send mail to, or 569 receive mail from, any other user with Internet access. Electronic 570 mail is much like paper mail, in that it is sent, delivered, and 571 contains information. That information can be textual, graphic, or 572 even sound. (See Section 4 - Accessing the Internet, and Section 5 - 573 Creating Content, for more information on non-textonly email 574 messages.) 576 You will get an Electronic mail, or Email address usually from 577 your Internet Service Provider (See Section 4). Your email address 578 contains your name, and the address of the machine on which you 579 receive your mail. The name of the machine will be in two parts, 580 (separated by a dot or period symbol ".") the name of the machine 581 itself, and the "domain" it is in. (See the documents reference in 582 Section 8 - Resources, for more information on domain names). 584 The possible extensions for a domain name will be one of: .edu, for 585 educational institutions; .gov, for government sites; .com, for 586 commercial companies; .org, for other organizations; or it might be a 587 locational domain name which would contain the city, state, region, 588 and country, as la.ca.us would be Los Angeles, California, United 589 States. 591 An email address takes the form "yourname"@"yoursite"."yourdomain" 592 For example, if your name is Jo Cool and you get your Internet 593 service from Dirigible Online, your email address might be 594 jcool@dirigible.com. 596 3.1.2 Listserv (mailing list server) 598 A Listserv is an automated program that accepts email messages from 599 users and performs basic operations on mailing lists for those users. 600 In the Internet, listservs are usually accessed as either 601 "list-request@host.domain" or "listserv@host.domain"; for example, 602 the list server for the hypothetical list "newsreports@acme.org" 603 would be "newsreports-request@acme.org". 605 Sending email to "newsreports@acme.org" causes the message to be sent 606 to all the list subscribers, which is inappropriate for "Subscribe" 607 and "Unsubscribe" requests. Sending a message to "listserv@acme.org" 608 sends the message only to the list server. Using "listserv@acme.org" 609 you would put the listname in the subject field with "Subscribe 610 me@my.domain" as the body of the message. Not all mailing lists use 611 list servers to handle list administration duties. 613 3.1.3 Newsgroups 615 A Newsgroup is an electronic bulletin board system created originally 616 by the Unix community and which is accessible via the Internet. 617 Usenet News forms a discussion forum accessible by millions of users 618 in almost every country in the world. Usenet News consists of 619 thousands of topics arranged in a hierarchical form. Major topics 620 include "comp" for computer topics, "rec" for recreational topics, 621 "soc" for social topics, "sci" for science topics, and there are many 622 others we will not list here. Within the major topics are subtopics, 623 such as "rec.music" for general music content, and 624 "rec.music.classical" for classical music, or "sci.med.physics" for 625 discussions relating to the physics of medical science. 627 If you have access to newsgroups, it would be wise to check 628 news.announce.newusers first. This newsgroup provides detailed 629 information on Newsgroups, such as how to find the right place to post 630 or even information on newsgroup writing style. 632 Local Newsgroups are those that are accessible through your 633 organization or company which contain news that is relevant only to 634 your organization. For example, NASA Goddard Space Flight Center 635 (GSFC) has many internal Newsgroups that are of interest only to 636 GSFC's employees and none of the other NASA centers. Therefore, 637 newsgroups have been formed to provide internal information to NASA 638 GSFC employees only and no one else. Some examples are: 639 gsfc.carpool, gsfc.dialup or gsfc.220.civil.servants. 641 Another example of a local newsgroup is news that is posted 642 regarding your community or the vicinity in which you live. For 643 example, if you lived in the Washington D.C. area some of the local 644 newsgroups would be: dc.biking, dc.jobs or dc.smithsonian. 646 3.1.4 Electronic Bulletin Board System (BBS) 648 A Bulletin Board System consists of a computer, and associated 649 software, typically providing electronic messaging services, archives 650 of files, and any other services or activities of interest to the 651 bulletin board systems' operator. 653 Typical use of a BBS has the user dial into the BBS via their modem 654 and telephone line and select from a hierarchy of lists, files, 655 subdirectories, or other data maintained by the operator. Once 656 connected, the user can often send messages to other BBS users within 657 the system. 659 Although BBSs have traditionally been the domain of hobbyists, an 660 increasing number of BBSs are connected directly to the Internet, and 661 many BBSs are currently operated by government, educational, 662 research, and commercial institutions. 664 3.2. Real-Time Communications 666 Real-Time Communications describes the process of communicating with 667 others via the Internet virtually simultaneously. Generally in a 668 forum where you type something, which another user sees on their 669 screen, and types something, which you see a moment later. The 670 moment between when they begin typing, and you begin seeing their 671 words, is known as "net-lag". 673 Forums which communicate in real-time are the Internet Relay Chat 674 (IRC), the Multi-User Dungeon (MUD), Audio/Video Conferencing (AVC), 675 and White Board Systems (WBS). 677 3.2.1 IRC - Internet Relay Chat, WebChat 679 Internet Relay Chat, or IRC, provides a text-based mechanism for 680 communication with multiple participants. IRC is an interactive 681 forum set up in virtual rooms that you can move between, and where 682 others can virtually "hang out". Chat rooms can be used to discuss 683 common ideas or topics, or as part of a collaborative process. The 684 connection method used will be specific to each IRC site. 686 Web chat is like IRC but it is done via a web browser such as 687 Netscape Navigator or Internet Explorer and it is not a text only 688 forum. 690 Once you have chosen the group you want to participate in, you must 691 choose a nickname, commonly known in the chat world as a "handle" for 692 yourself (usually a very creative name). With some software you can 693 have your nickname link to your webpage or email. Some software also 694 allows you to post a very small picture next to your name. 696 Many webchat sites require the user to register before being able to 697 participate in the activity. If any additional software is needed 698 based on your particular software and PC configuration the site will 699 point you in the right direction so you can download the necessary 700 software. 702 Some sites will provide you with chat etiquette guidelines. Please 703 be sure to read the directions before you participate in the Chat 704 session. 706 Once you begin to chat you may find that there are some abbreviation 707 used that you are not familiar with. These abbreviations are for 708 various actions or phrases. Some very common ones are: by the way 709 (btw), in my humble/honest opinion (imho), or ta ta for now (ttfn). 711 The following sites point to some of the chat groups accessible via 712 the Web: 713 The Chat Hole - http://acm.ewu.edu/homepage/wmundell/chathole.htm 714 WebChat Broadcasting System - http://pages.wbs.net/ 715 Yahoo! - Computers and Internet: Internet: World Wide Web: Chat - 716 http://www.yahoo.com/Computers_and_Internet/Internet 717 /World_Wide_Web/Chat/ 719 3.2.2 MUD - Multi-User Dungeon 721 An interactive game environment where both real other players and 722 virtual other players exist and with whom you can communicate to 723 share ideas or solve puzzles, etc. 725 The word "Dungeon" refers to the setting of many of the original 726 games of this sort, in which you, our hero, must escape from a 727 dungeon-like environment where evil goblins, demons, and other 728 "bad-guys" are trying to kill you. Generally the goal, in order 729 to win the game, is to find and retrieve some treasure, or reach 730 some hidden place, and find the way out. 732 ++ vrml, avatar, digital editing systems, proprietary (palace, urban 733 ++ desires) 735 ++ Expand on the concept of "shared construction" -- that this 736 ++ enables information and ideas to accrue over time. 738 3.2.3 Audio/Video Conferencing 740 CU-SeeMe is a desktop videoconferencing software tool. CU-SeeMe 741 allows Macintosh and Windows users with an Internet connection and a 742 desktop camera (some go for as little as $100) to see, hear and speak 743 with other CU-SeeMe users across the world. This program was 744 developed at Cornell University in Ithaca, New York, USA and is 745 freely available. 747 CU-SeeMe allows the user to have a one-to-one communication. It is 748 also possible to have a one-to-many or many-to-many communication by 749 installing a reflector on a Unix machine or using a public site (more 750 on this later). 752 To download the software, see: 753 ftp://cu-seeme.cornell.edu/pub/cu-seeme or go to Cornell University's 754 CU-SeeMe Page at http://cu-seeme.cornell.edu/ for more information. 755 This site also provides detailed information on what is needed to run 756 CU-SeeMe. 758 Another reliable site is the CU-SeeMe Home Page: 759 http://www.indstate.edu/msattler/sci-tech/comp/CU-SeeMe/ 761 For one-to-many or many-to-many communication, a reflector is needed. 762 The reflector software must be installed on a Unix machine. The 763 software can be obtained from Cornell University's CU-SeeMe Page 764 mentioned above. 766 For a list of public reflectors see: 767 http://www.indstate.edu/msattler/sci-tech/comp/CU-SeeMe/reflectors/ 768 nicknames.html 770 Please note that there are Netiquette rules that ought to be observed 771 when using a reflector, please see: 772 http://cu-seeme.cornell.edu/Reflector.html 774 There is an enhanced commercial version of CU-SeeMe, information on 775 that can also be found at CU-SeeMe Home Page mentioned above. 777 ++ multicasting 778 ++ Expand on uses 779 3.2.4 Whiteboard Systems 781 A Whiteboard is analogous to the blackboard, and is physically quite 782 similar. A Whiteboard System allows people on the Internet to share 783 text, drawings, and other graphic information which is being written 784 in real-time on an electronically enhanced whiteboard. 786 Software exists which allows connections between two sites, or 787 hundreds, over the Internet, the Web, or your telephone. 789 ++ commercial, non-commercial, internet, non-internet. 790 ++ PictureTel, SmartBoard, 791 ++ wwwphone is freely available. Send mail to: jay@eit.com 793 3.3 Archives 795 Archive is defined in Webster's New World Dictionary as: 796 n. 1 a) a place where public records, documents, etc. are kept 797 b) a place where material having documentary interest, as private 798 papers, institutional records,memorabilia, or photographs, is kept. 800 Archives on the Internet are pretty much the exact same thing. The 801 motive and much of the content is the same, but the media changes 802 (from paper files, to electronic files), and as such allows for a 803 much greater diversity of content. 805 Archives on the Internet also allow many people access to their 806 files simultaneously, and from all over the world. 808 Any and all information that people want to make available on the 809 Internet can be. This means there is a truly vast amount of 810 information out there, with more being added every day. In fact 811 there is so much information that it is sometimes difficult and 812 confusing to find the information you want. This is the topic of our 813 next section. 815 3.3.1 Searching 817 One of the great challenges facing the internet is how to organize 818 the vast amounts of information in ways that allow most people to 819 find what they want. In theory, there may be a "perfect" 820 organization, but in practice, we will never achieve it. This means 821 that finding the information you want on the net may require some 822 skill on your part. Fortunately there are many tools and strategies 823 that may be helpful. 825 One of the all time great ideas for finding the information you want 826 is a thing called a search engine. A search engine is a computer 827 program usually living on a remote computer that spends its time 828 downloading information from other computers and building an index of 829 what lives where. This behavior has given them the nickname of Web 830 Crawlers. What this means to you, is that you can call up the Search 831 Engine's home page, and enter in a subject, name, title, or random 832 string pattern, which is then used to search the engines index 833 for stuff out on the net that seems related. This can lead to both a 834 large volume of information, and some rather startling discoveries of 835 information from unsuspected sources. 837 Some of the available Searchers and Indices on the Internet include: 839 Yahoo - Index of WWW sites, with search capabilities 840 http://www.yahoo.com/ 841 DejaNews - USENET (news groups) search engine 842 http://www.dejanews.com/ 843 WebCrawler - http://query.webcrawler.com/ 844 Lycos - http://www.lycos.com/ 845 AltaVista - WWW and USENET search engine 846 http://www.altavista.digital.com/ 847 Magellan - Index of reviewed and rated Internet sites, with 848 search capabilities 849 http://www.mckinley.com/ 851 Yahoo, for example, has a high-level category called "Arts", which 852 has a multitude of subcategories below it, most of which have further 853 subdivision, each of which can contain lists of lists. For example, 854 to find information on Modern Dance, one can follow the links to 856 http://www.yahoo.com/Recreation/Dance/Modern/Groups 857 or simply type "Modern Dance" into the search field and choose from a 858 list of selections returned. 860 On a typical attempt on March 25, 1997, Yahoo returned 4 major 861 categories of Modern Dance, and offered 82 other links to related 862 pages around the web. 864 There are many other Searchers and Indices on the Internet, and a 865 good way to find them, is to do a search for them in one of the 866 services above, or others you encounter in your travels. 868 3.3.2 Compound Searches 870 After experimenting with the available search engines, it quickly 871 becomes clear that searching on a broad category can result in too 872 much information. For example, a recent search at AltaVista for the 873 subject "Rembrandt" matched over 8500 individual items, including 874 information on the famous artist (Rembrandt von Rijn (1606-1669)), 876 URL: http://www.bod.net/CJackson/rembrand/rembrand.htm and His 877 Self-Portrait, 879 URL:http://found.cs.nyu.edu/fox/art/rembrandt/self1660.html a 880 hotel in Thailand (Rembrandt Hotel and Plaza, Bangkok), 882 URL:http://www.siam.net/rembrandt/index.html and a pizza 883 restaurant in California 884 URL:http://www.lososos.com/Rembrandt'sCafe/. 886 To be more particular in what you find, all of the available 887 search engines allow you to do compound searches, in which multiple 888 keywords are used, possibly in combination with Boolean logic 889 operators such as AND, OR, and NOT. For example, to focus in on 890 Rembrandt the artist, at the exclusion of pizza cafes, try the 891 following advanced search in Magellan: 893 Rembrandt AND artist AND portrait NOT pizza 895 Note that the method of entering search items differs slightly 896 from service to service. When trying a new service, check the 897 available help topic before searching. And as with any new skill, 898 practice, practice, practice! 900 Test of search scope: 901 Lycos: rembrandt. 1837 relevant documents 902 Lycos: rembrandt and artist and portrait 6 relevant documents 903 Yahoo: rembrandt 2 Catagory and 39 site matches 904 Yahoo: rembrandt and artist 2 Catagory and 11 site matches 905 AltaVista: rembrandt about "10000" documents 906 AltaVista: rembrandt +artist +museum about "100" documents 907 WebCrawler: rembrandt. 347 matching "rembrandt" 908 WebCrawler: rembrandt and artist and portrait 21 matching documents 909 Magellan: rembrandt 666 results 910 Magellan: rembrandt and artist and portrait 39379 results 912 You'll notice, in the above statistics, that the numbers for Magellan 913 are quite different from the others. This is because different 914 search engines may function differently. When you do a this+that 915 search on Magellan, it looks for all instances of This AND all 916 instances of That rather than the standard response of Only documents 917 which contain both This AND That. On almost all the sites I have 918 explored, there is an explanation of how the search process works on 919 that site. You should read that explanation if you're having trouble 920 or need further information. 922 You will also begin to see patterns in the way people name, or file, 923 their information, which will help you find more information. Some 924 may list their links to ART, while others list their links to 925 PAINTINGS. Also many people put links to related pages in their 926 pages, so one page you find that doesn't have what you're looking 927 for, may have a pointer to another page that does have what you're 928 looking for. Searching is an iterative process, keep going from one 929 search key to another, and continue down multiple levels to see what 930 is out there. Its known as Exploring, or Surfing the Net, and it is 931 a major part of the joy of the Internet. 933 4. Accessing the Internet 935 Accessing the Internet in terms of simply receiving, downloading, 936 and viewing files, uses most of the same tools (software and 937 hardware) needed to create files and make them available on the 938 Internet. This section, and the next, overlap in the areas of basic 939 hardware and software. 941 The Internet can be accessed in many comfortable ways: at school, 942 at home, at work, and even at trendy CyberCoffeeHouses. Accessing 943 the Internet is not synonymous with publishing and displaying on the 944 Internet, however. You may need different equipment for creating and 945 retrieving content. 947 4.1 Getting Started 949 Many Internet Service Providers (See Section 4.2) offer free 950 instruction to get you started in accessing the Internet as well as 951 creating content. With the competition of Internet providers, you 952 should be able to find one or two that offer the instruction you 953 need. Artists in smaller communities may need to rely more heavily 954 upon online sources of information. 956 Check with local libraries and schools which may offer classes on 957 Internet related subjects, including getting connected, or check the 958 Internet section available in most bookstores today. 960 Don't be dissuaded if you find limited access. The Internet will 961 soon be everywhere, but if you don't want to wait, then do what these 962 enterprising youths did... 964 When several students from large universities returned home to Taos, 965 NM, a couple of summers ago, they left behind their Internet 966 connections. Missing their connectivity, they approached the owner 967 of a local bakery and suggested he start an Internet room where he 968 could charge people by the hour to use the Internet. The 969 entrepreneurial baker applied for a government grant and received a 970 a few computers with high speed modems. 972 You may be able to find a place like this, often called a CyberCafe, 973 rather than having to create one. Try your local magazine stand for 974 the latest periodicals, or your public library or bookstore for 975 pointers to other people who will know more. 977 Once you have some Internet access, you can find out more about 978 Cybercafes, InternetCafes, and other physical Internet access points, 979 by searching as described in Section 3, and in the newsgroup 980 alt.cybercafes. 982 4.2 Internet Service Providers 984 Being an Internet Service Provider (ISP) these days is pretty easy 985 and can be financially worthwhile, so there are alot of them, and 986 they are starting and failing every day. In addition to the 987 information and pointers you will find in this document, many 988 organizations exist to help you locate, and choose a service 989 provider. In any case, be sure to get references, not only for the 990 ISP but also for the organizations who recommend them. Some 991 organizations exist solely to recommend those who pay them. Most 992 Internet related magazines these days contain extensive advertising 993 by ISPs in your area. See Appendix D for a listing of many magazines 994 which now contain information and pointers about the Internet. 996 As we discussed in Section 1, every machine on the Internet needs an 997 address by which it is accessed. Even machines which are only 998 browsing need an address to which the browsed information is 999 returned. This is actually called your IP (Internet Protocol) 1000 address. Usually you will get your IP address from your work, 1001 school, or ISP when you get your configuration information for your 1002 Internet connection. If you were trying to get an IP Address on your 1003 own, you would go to the Internet Assigned Numbers Authority (IANA). 1005 The following is sent out by the IANA in response to a request for 1006 an IP network number assignment. 1008 You should get your IP address (a 32bit number) from your 1009 network service provider. 1011 Your network service provider works with a regional registry 1012 to manage these addresses. The regional registry for the US 1013 is the Internic, for Europe is RIPE, for the Asia and Pacific 1014 region is the AP-NIC, and parts of the world not otherwise 1015 covered are managed by the Internic. 1017 If for some reason your network service provider does not 1018 provide you with an IP address, you can contact the your 1019 regional registry at one of the following addresses: 1021 Internic 1022 RIPE 1023 AP-NIC 1025 Please do contact your network service provider first, though. 1026 The regional registry will want to know all the gory details 1027 about why that didn't work out before they allocate you an 1028 address directly. 1030 4.3 Computer Software and Hardware Tools 1032 A basic computer system consists of a box containing a Central 1033 Processor Unit (CPU), MotherBoard, and Floppy Drive. It will also 1034 come with a keyboard, and you will need a Hard Drive, Memory, and a 1035 Video Monitor. How much memory, how large a hard drive, and how 1036 fabulous a monitor, will vary with your needs and experience. 1038 To connect to an ISP you will also need a modem and a phone line. 1039 Your normal telephone line will do, but if you have call-waiting you 1040 will probably want to disable it for the duration of your networking 1041 session so that you do not lose data to a lost connection. 1043 There are many types of computers available including PC's, Macs, and 1044 other Workstations. The most affordable systems are generally PCs 1045 and Macs. You may also need to choose an Operating System (OS) for 1046 the machine you choose. 1048 Personal Computers (PCs) can run a version of DOS, anything from 1049 Microsoft(R), or a version of Unix (BSDI, FreeBSD, Linux, etc.) Apple 1050 Macintosh computers can run the common Mac Windows, or Apples version 1051 of Unix. Workstations generally run a Unix derived OS. 1053 With any system, you should ensure that it contains the software and 1054 hardware necessary to maintain both itself and your data. While 1055 computer data is not particularly fragile, it is still sometimes lost 1056 due to hardware or software problems or simple human error. For this 1057 reason it is considered important to "back up" your system by making 1058 extra copies of important data. While simply copying data onto 1059 floppy disks could work, the small storage size of the disks makes it 1060 alot of work and prone to human error. Many large capacity disk and 1061 tape drives are available with special software specifically for 1062 doing backups. It is highly recommended that you purchase a backup 1063 solution along with your computer. 1065 It is also important to protect your data from being damaged by 1066 computer viruses. When you connect to the net and move data back and 1067 forth, it is possible that there can be a small piece of software 1068 (called a virus) that could hide in some of the data and "infect" 1069 your system, possibly then using your system to infect other machines 1070 that you connect to. These viruses are often created by misguided 1071 people as a sort of computer prank, and can accidentally or 1072 maliciously damage your data. Fortunately it is possible to buy 1073 virus checking software that can regularly scan your system to see if 1074 it has been infected. This software is important whether you are 1075 downloading information from the net, or using other peoples floppy 1076 disks. See Section 6 for more information on viruses. 1078 Determining your ideal hardware and software configuration will 1079 take some time and patience. You need an understanding of what you 1080 want to do, and how, and whether you wish to simply view, or create. 1082 You'll also want to know the limitations and expandability potential 1083 of the system, so you can determine if it will have a useful 1084 lifespan. If the machine cannot grow for the foreseeable few years, 1085 it will become obsolete before its given you its fullest value. 1087 4.4 Multimedia 1089 Depending upon your needs, you may require special hardware installed 1090 in the machine, or attached externally by cables. These additional 1091 pieces of hardware are known as peripherals. 1093 The peripherals needed for accessing information on the Internet 1094 might include the following: 1096 - a sound card and speakers to hear sounds, music, speech, etc. 1097 - a CD-ROM player to read stored images of artwork 1098 - midi equipment for audio artists 1099 - video equipment for participating in video forums 1100 - a printer to make hardcopy of files, or images 1101 - Other equipment for creating content See Section 5. 1103 Most of these peripherals will require specialized software. If you 1104 plan to purchase all the hardware and software at once, find a vendor 1105 who will connect and test all the hardware, software, and peripherals 1106 for you. Due to the complexity of these systems, they can be 1107 difficult to configure for the inexperienced user. 1109 Also, verify that the vendor will stand behind their equipment, and 1110 this configuration in the event that it doesn't work the way you want 1111 it to. Hook the system up, and test it extensively right away, so 1112 as to determine any problems before your warrantee period expires. 1114 5. Creating Content 1116 As the hardware and software of the net becomes cheaper and better 1117 understood, the technology itself will become less important than the 1118 content which lives on the net. Many of the rewards of the Internet 1119 will go to the people who create such content. 1121 There are different ways to add content to the Internet. One may 1122 start with pre-existing content, such as paintings or stories, and 1123 find a place for it, or one may create content specifically for the 1124 net such as a web page. 1126 Let us for the moment assume that you have already created something 1127 which you would like to make available on the net. There are many 1128 ways in which you could do this. You could deal with agencies who 1129 provide this service professionally, find friends or others willing 1130 to do it for free, or get yourself on the net in some fashion and 1131 create a place for it yourself. 1133 If you chose to do it yourself, you will need your own computer and 1134 some form of internet access from an Internet Service Provider (ISP) 1135 or Web Space Provider (WSP). 1137 Once you have a place to put your content, you will need to put it in 1138 the right format. Images may have to be digitized, audio may have to 1139 be recorded into computer files, etc. Section 5.2 discusses the 1140 various information formats in more detail. While hardware, such as 1141 image scanners, are readily available, there are also many other 1142 options available. For example, most print, or copy shops today can 1143 do high quality image scans and some WSPs may provide this as one of 1144 their services. 1146 If you are placing your content on the Web, a web page must be 1147 created for it in the form of an HTML document that references the 1148 content in the appropriate file format. While this is easy enough to 1149 do yourself, many WSPs also offer this service, and there are also 1150 independent web page designers who may be able to do a better job. 1152 Creating online content involves moving your art into an electronic 1153 format and then, perhaps, re-formatting it for the Internet. For 1154 some art forms, the initial electronic step is fairly painless: 1155 translating a short story, poem, novel (or any type of creative 1156 writing that doesn't have much desktop publishing formatting, for 1157 example) into HTML is fairly straight forward. Likewise, moving a 1158 computer graphic to the Internet requires a converter program to make 1159 the graphic follow the right format. Performing arts, sculpture, and 1160 other pieces that are hard to capture on a computer disk, require 1161 more work and creative thinking. 1163 Much of the information needed to help you think creatively about 1164 publicizing your work online is available in classes, books, local 1165 Internet cafes, and on the Internet itself. Many Internet magazines 1166 are available for subscriptions or individual issues can help get you 1167 started. Most new bookstores and, to some extent, used bookstores 1168 provide numerous volumes of Internet information. However, even the 1169 most recently published books may contain outdated information. The 1170 latest 'standards' can be obtained directly from the Internet 1171 Engineering Task Force, or IETF, at http://www.ietf.org/. The 1172 document you are reading now is a product of that organization. 1174 If you learn better by doing, rather than reading, you may be 1175 interested in taking a HTML or Internet Introduction course at a 1176 local college. Most larger metropolitan area schools provide classes 1177 for the basics, which can also expose you to other artists. Make 1178 sure you read the course description; some courses may only cover 1179 accessing the Internet while you may want to actually be creating 1180 documents. If no colleges in your area offer classes, contact the 1181 computer science department or the continuing education office and 1182 suggest a topic. If the school can obtain enough support, they may 1183 offer a class the following semester. 1185 5.1 Getting Help: Consultants, Web Page Designers, Providers, etc. 1187 Once you're connected to the Internet, there are many more ways of 1188 getting help with it. Try the forums, listed in Section 3, such as 1189 Newsgroups, Bulletin Boards, and Chat rooms. If you've checked the 1190 local netiquette guidelines, and behave accordingly, the Internet 1191 community will usually be very helpful toward new arrivals. 1193 When looking for good consultants and web page designers, start with 1194 the sites you like, and find out who did their pages. Discuss your 1195 needs with other artists, or check the phone book, library, books, 1196 magazines and other periodicals for artist collectives and groups who 1197 may be available to assist you. Look for groups whose cause is 1198 artisticly motivated, rather than trusting people who are paid to 1199 point you at a particular consultant or assistant. 1201 Know what you want. If it takes you a while to figure out what you 1202 want, take that time. This shouldn't be something you need to rush 1203 into. The Internet isn't going to go away. Whatever you decide to 1204 do, don't be afraid to ask for references. A good provider of 1205 services will always be happy to provide you with a list of happy 1206 customers. 1208 5.2 Basic design issues: Understanding Formats 1210 As discribed in Section 1.3, there are many file formats available on 1211 the Internet. You'll need to understand a little bit about the 1212 formats you'll want to present, in order to create them for others to 1213 see. Some formats are called Public Domain, and are freely copyable, 1214 and the software tools used to create this content is available for 1215 you to download off the net. Other formats are called Proprietary, 1216 and are only readable and creatable using software you must purchase 1217 from the vendor who created it, or their authorized reseller. Some 1218 formats, and their associated formatting tools, come along with other 1219 software packages. For example, Microsoft Windows comes with a Sound 1220 Recorder, which makes and plays back .wav files. Now people who want 1221 sound cues in the software they write for Windows can use .wav files 1222 and give you more options with the tools you have. So you can now 1223 surf the net for .wav files to add to the usefulness of those tools. 1225 For more information on file formats, connect to: 1226 http://www.matisse.net/files/formats.html 1227 or 1228 http://rodent.lib.rochester.edu/multimed/contents.htm 1229 (note the extension in this case is .htm rather than .html - this is 1230 the case when files are created in an environment that only supports 1231 three character extensions, such as DOS. 1233 ++ List, define, and describe, formats and extensions... 1234 ++ Sound, Image, Text, Hypertext 1235 Some artists are actually using html as an artform in itself and are 1236 helping to push the boundaries of this medium. 1238 ++ Mention scanners, tablets, speakers, recorders, 1239 ++ encoders/decoders, slide reader video equipment, software needed, 1240 ++ Save in-depth for the appropriate subsection. 1242 ++ Don't forget Examples: How people are creating content ... 1244 5.3 Text and Hypertext 1246 ++ what and how 1248 5.4 Graphic and Moving images 1250 ++ Creating mpeg, jpeg, gif, jpg, Compression: jpg vs. gif 1251 ++ What is a thumbnail? 1253 5.5 Music and Sound 1255 The World Wide Web supports audio data as well as visual data. The 1256 most obvious way to send audio across the net would be to use digital 1257 audio like that used for the Compact Disc or "CD". However, CD 1258 format digital audio requires 44,100 16 bit words per second for a 1259 mono signal, and twice that for a stereo signal. While there are 1260 many places where one can find digital audio in Windows ".wav", or 1261 the MacIntosh ".au" format, these files typically take a very long 1262 time to download even a few seconds of audio. The size of these 1263 formats makes them too inefficient for widespread use on the net 1264 today. 1266 It is however possible to do "useful" audio over the net. The 1267 emerging "de facto" standard seems to be _RealAudio_, based on the 1268 freely distributable server/player application, _RealAudio_ version 1269 2.0, developed by the Seattle based company Progressive Networks. 1270 First released in 1995, RealAudio allows useable digital audio in 1271 realtime over a 28.8 kB line, and has already been put into service 1272 on the home pages of most major record companies as well as in many 1273 niche applications. In addition, RealAudio provides a "Voice mode" 1274 optimized for understandable speech transmission over a 14.4kB line. 1276 Unfortunately the quality of _RealAudio_ leaves much to be 1277 desired. In particular, the sample rate in Music Mode is only 8Khz 1278 (as compared to CD quality 44.1 Khz), meaning that all high 1279 frequencies above 4khz are simply missing. The resulting audio is 1280 still pleasing to listen to, but sounds very dull and dark. 1282 More information about RealAudio can be found at www.RealAudio.com. 1284 Clearly Digital Audio is the way of the future, but until more 1285 bandwidth is available to the average person, it may not be the way 1286 of the present. Fortunately, at least in the area of music, there is 1287 an interesting alternative. 1289 MIDI (the Musical Instrument Digital Interface), as developed for 1290 electronic musical instruments (keyboards, samplers, drum machines, 1291 etc.) works well for certain kinds of music over the net. It 1292 involves sending no sound sources at all, just the description of the 1293 music -- kind of like the score, without the instruments. If the 1294 receiver has the right instruments on their computer (such as the 1295 sounds defined in the General Midi soundset found on many 1296 soundcards), they can play back the musical score. 1298 The big disadvantage to using MIDI is that other than the limited 1299 selection of sounds in the General Midi set, it is extremely 1300 difficult to make sure the music sounds more than approximately like 1301 the original. And there is no way to handle non-MIDI instruments 1302 such as guitar or voice, so it is useless to hear the new song by 1303 your favorite rock and roll band. 1305 The big advantage to MIDI is how fast it works over slow net 1306 connections. For example, five minutes of music, fits in a mere 30k 1307 file, and usually will not take more than a few seconds even on the 1308 slowest of dialup connections! This makes it ideal for applications 1309 such as networked games, or music to go along with a web page. 1311 There are many ways of embedding MIDI files into HTML documents, 1312 for WWW distribution. 1314 Anyone who wants to add MIDI to a page can choose to use existing 1315 public access MIDI file banks, of which there are many, or to produce 1316 new MIDI themselves. 1318 Crescendo is one package available for embedding MIDI files in 1319 HTML http://www.liveupdate.com Crescendo works for both MacIntosh and 1320 Windows. 1322 Helpful Links: Publicly Available Audio and Music Applications 1323 http://reality.sgi.com/employees/cook/audio.apps/public.html 1325 Music of J.S. Bach for keyboard 1326 ftp://ftp.cs.ruu.nl/pub/MIDI/SONGS/CLASSICAL/BACH/HARPSICHORD/ 1328 RISM (repertoire of manuscript sources), plus other access to 1329 online scholarly music resources. http://rism.harvard.edu/RISM/ 1331 Crescendo is used in the web pages at http://mcentury.citi.doc.ca 1332 along with a growing number of others. One very interesting use of 1333 Crescendo occurs on the Music Theory Online publication, a serious 1334 scholarly site for publishing and debating musicology and music 1335 theory. Articles there now routinely include short musical examples, 1336 a great sign of the future of scholarly publishing in the age of 1337 dynamic, interactive content. 1338 http://boethius.music.ucsb.edu/mto/issues/mto.96.2.4/ 1340 Formerly, debate on musical form and structure occurred in the 1341 pages of journals, referring usually to music examples in terms of 1342 its visual notation. This notation requires a certain degree of 1343 training to decode, effectively restricting the potential readership 1344 to those with this professional training. With sound examples 1345 embedded directly in the text, at least the aural effect of the music 1346 comes across, even to those unable to read the notation accurately. 1347 This shift is appropriate to the newer trends in music scholarship, 1348 which talk about music in terms of its social and cultural context, 1349 instead of only in formal terms. 1351 5.6 Content Design Issues 1353 Know your intended audience. If you want more people to see your 1354 work, you'll need to make it more accessible. 1356 Many sites are very careful about what content they will allow access 1357 to. If you want all audiences to be able to view your work, make 1358 sure you are careful about your content and language. 1360 Another content design issue is tool friendliness. Some machines 1361 have limitations which will not allow them to see or hear what you'd 1362 like them to. For example, older or less expensive models of 1363 monitors may have monochrome, or one-color displays, or display only 1364 16 colors, or 256 colors. If you create and view images which look 1365 fabulous with a 64,000 color display, you may want to test them using 1366 a 16 color display to see what the effect is. Sometimes you can 1367 modify your image slightly to get a wider audience while only having 1368 a minor impact on the effect. 1370 The following sites give you pointers on what to consider when 1371 designing a web page that is content- rich: 1373 - Sun's Guide to Web Style - http://www.sun.com/styleguide/ 1374 - Yale C/AIM Web Style Guide - http://info.med.yale.edu/caim/manual/ 1375 - Web Development - http://www.december.com/web/develop.html 1376 - A Guide to Creating a Successful Web Site = 1377 http://www.hooked.net/~larrylin/web.htm 1378 - Bandwidth Conservation Society - http://www.infohiway.com/faster/ 1379 This is resource for web developers with an interest in optimizing 1380 performance. 1382 See Section 6 for other issues and challenges relating to content. 1384 5.7 Publicizing your work 1386 ++ advertising on the net. point to Sally's doc. 1388 6. Issues and Challenges 1390 The Internet has many issues and challenges, among which are 1391 security, privacy, property rights, copyrights and freedom of speech. 1392 Security issues involve both the security of your data, as well as 1393 your image. Viruses can be transmitted easily over the net, and 1394 precautions should always be taken. If you choose to keep your own 1395 information available on the net it can be the subject of vandalism 1396 and theft. You may also find yourself being persecuted for the 1397 information you provide as more and more people join the Internet 1398 community and feel the need to impose their morality upon it. 1400 This is no different from any society. We must draw our own lines, 1401 and our own conclusions. This section is terribly brief, and 1402 entirely summary in nature, and is in no way intended to be 1403 comprehensive. It is intended to warn you and advise you. If you 1404 have real concerns about your property rights, copyrights, and/or 1405 personal rights, please do your own research. Internet laws are in 1406 such a state of flux that they are changing as I write this, and they 1407 will be changing as you read it. 1409 At last check, however, freedom of speech was prevailing in the 1410 United States, and so far the government has not upheld any laws 1411 prohibiting the exhibition of anything on the Internet. Support your 1412 local constitutional rights. 1414 6.1 Security Issues 1416 ++ See Section 10. but describe here also. 1417 ++ Security of content, site, ownership. 1419 6.2 Viruses 1421 A "virus" is a program that modifies other programs by placing a copy 1422 of itself inside them. It cannot run independently. It requires 1423 that its host program be run to activate it. 1425 The damage caused by a virus may consist of the deletion of data or 1426 programs, maybe even reformatting of the hard disk, but more subtle 1427 damage is also possible. Some viruses may modify data or introduce 1428 typing errors into text. Other viruses may have no intentional 1429 effects other than replicating itself. 1431 Viruses can be transmitted over the Internet inside other programs, 1432 but usually they are transmitted by floppy disk. Your best bet is to 1433 purchase a really versatile and up-to-date virus checking program 1434 from your local software retailer, and run it over every floppy you 1435 plan to read, and every program you plan to run, as well as 1436 periodically over the entire machine. 1438 Computer viruses are enough like organic viruses that many of the 1439 same precautions apply. Early detection is key. Diligence will 1440 mitigate potential damage, but frequent incremental backups are your 1441 best strategy for recovery. 1443 6.3 Rights 1445 ++ Intro to protecting your copyright on the Internet. 1446 ++ References: Copyright law, cases, etc. 1447 ** Remember Laws on Intellectual property are constantly changing! 1448 ++ examples of: copyright, trademark, disclaimers, international 1449 ++ concerns big issue re: other countries who do not recognize US law 1450 ++ goes both ways... respecting others copyrights 1452 ++ The implications of the Telecom Reform Bill with regard to 1453 ++ Freedom of Speech. 1454 ++ Censorship issues, need *your* help. 1456 ++ INTERNATIONALIZE: ie: Canada will not allow the import of anything 1457 ++ that is "degrading" to women. Etc. 1459 6.4 Conducting Business over the Internet 1461 ++ Secure transaction are possible, pointers to pgp, etc. 1463 6.5 Netiquette 1465 ++ The Responsible Use of the Network document outline, and pointers. 1466 ++ ie: AVOID SHOUTING 1468 FYI 28 "Netiquette Guidelines", (Also RFC 1855), October 1995. 1470 ++ It never hurts to keep silent until you know your audience better. 1471 ++ Not being offended by others, ie: don't take it personally 1472 ++ keeping in mind international cultural differences, etc. 1474 7. Glossary 1476 ++ point to userglos, trainmat, and useful stuff that needs to be on 1477 ++ the same doc. for ease of use 1479 FYI 29 "Catalogue of Network Training Materials", (Also RFC 2007), 1480 October 1996. 1482 FYI 22 "Frequently Asked Questions for Schools", (Also RFC 1941), 1483 May 1996. 1485 FYI 18 "Internet Users' Glossary", (Also RFC 1983), August 1996. 1487 ** words contained within this document which need to be defined for 1488 ** the audience: Boolean, 1490 8. Resources 1492 ++ Places to find more information of use and interest. 1493 ++ specific arts and humanities studies, projects, programs, getty 1495 Much of the information provided by this document was gathered 1496 from other documents. Wherever important to the discussion, a 1497 pointer to the document was given, however, many more documents are 1498 available on many other topics. 1500 8.1 Request for Comment 1502 One of the most important collections of informational documents 1503 about the Internet are written as Requests for Comment by the 1504 Internet Engineering Task Force. The name Request for Comment is 1505 historical, as these documents are submitted by their authors' for 1506 the approval of the Internet community as Internet Standards, and 1507 valid Informational RFCs called FYIs, of which this document is one. 1508 Basically, if the IETF collective uses a tool or resource, they 1509 document its use in an RFC so that there is no mystery to its 1510 functionality, uses, designations, specifications, or purposes. 1512 More information on RFCs, FYIs, the IETF, and its organizations, 1513 documents, policies and purposes can be found in the RFCs themselves, 1514 by a number of means. 1516 8.1.1 The ISI RFC-INFO service 1518 There are many way to get copies of RFCs over the Internet (see 1519 ConneqXions, Vol.6,No.1, January 1992). Most of these simply access 1520 a directory of files where each RFC is in a file. The searching 1521 capability (if any) is limited to the filename recognition features 1522 of that system. 1524 The ISI RFC-INFO server is a system you can search for an RFC by 1525 author, date, or keyword (all title words are automatically 1526 keywords). 1528 RFC-INFO is an e-mail based service to help in locating and 1529 retrieval of RFCs and FYIs. Users can ask for "lists" of all RFCs 1530 and FYIs having certain attributes ("filters") such as their ID, 1531 keywords, title, author, issuing organization, and date. Once an RFC 1532 is uniquely identified (e.g., by its RFC number) it may also be 1533 retrieved. 1535 To use the service send e-mail to RFC-INFO@ISI.EDU with your requests 1536 in the body of the message. Feel free to put anything in the 1537 SUBJECT, the system ignores it. (All is case independent.) 1538 See Appendix C. Examples for using the RFC server RFC-INFO@ISI.EDU 1540 9. References 1542 ++ should we create [#] footnotes?? i.e.: ISN doc, etc. 1543 ++ reference the publications and/or sites of key 1544 ++ arts and humanities organizations (e.g. Getty, NINCH) 1546 10. Security Considerations 1548 ** jkrey points to site sec. handbook: 1549 ** "The "current" Work in Progress for the Site Security Handbook WG 1550 ** is the I-D - draft-ietf-ssh-handbook-03.txt. This group is 1551 ** working on a companion document for the "user". Stay tuned for 1552 ** the I-D. They should have that out before San Jose." 1554 There are a wide variety of ways in which systems can be violated, 1555 some intentional, some accidental. Of the intentional attacks, a 1556 portion may be exploratory, others simply abusive of your resources 1557 (using up your CPU time) but many are actively malicious. No system 1558 is 100% safe, but there are steps you can take to protect against 1559 misconfigured devices spraying packets, casual intruders, and a 1560 variety of focused assaults. 1562 Your best defense is to educate yourself on the subject of 1563 security. There are places on the net devoted to teaching users 1564 about security - most prominently, the CERT Coordination Center 1565 located at the Software Engineering Institute at Carnegie Mellon 1566 university. You can point your web browser (or direct your ftp 1567 connection) to ftp://info.cert.org/pub/cert_faq to start. This is a 1568 frequently asked questions guide and general overview on CERT. It 1569 includes a bibliography of suggested reading and a variety of sources 1570 to find more information. 1572 Next, you should probably read 1574 ftp://info.cert.org/pub/tech_tips/security_info 1576 which contains a (primarily based on the UNIX operating system) 1577 checklist to help you determine whether you're site has suffered a 1578 security breach. You can use it to guide you through handling a 1579 specific incident if you think your system has been compromised or 1580 you can use it as a list of common vulnerabilities. CERT also 1581 maintains a wide variety of bulletins, software patches, and tools to 1582 help you keep up to date and secure. 1584 Before you are even online, you should consider some basic steps: 1586 10.1 Formulate a security policy. 1588 It should include policies regarding physical access procedures, 1589 security incident response, online privileges and back-up media. Put 1590 a message at the login to establish your policy clearly. 1592 An example: 1594 "This system is for the use of authorized users only. It may be 1595 monitored in the course of routine operation to detect unauthorized 1596 use. Evidence of unauthorized use or criminal activity may result in 1597 legal prosecution." 1599 10.1.1. Talk to your Internet Service Provider. 1601 Depending upon your provider and router management situation, there 1602 are a number of things your ISP should be able to do for you to make 1603 your site more secure. Foremost, packet filtering on the router that 1604 connects you to the internet. You will want to consider IP filters 1605 to allow specific types of traffic (web, ftp, mail, etc.) to certain 1606 machines (the mailhost, the web server, etc.) and no others. Other 1607 filters can block certain types of IP spoofing where the intruder 1608 masks his or her identity using an IP address from inside your 1609 network to defeat your filters. Discuss your concerns and questions 1610 with your provider - the company may have standards or tools they can 1611 recommend. 1613 10.1.2. Make sure your systems are up to date. 1615 A significant number of incidents happen because older versions of 1616 software have well-known weaknesses that can be exploited from almost 1617 anywhere on the internet. CERT provides a depository for software 1618 patches designed by concerned net.citizens, CERT's engineers and by 1619 the vendors themselves. 1621 10.1.3. Use the tools available. 1623 Consider recording MD5 checksums on read-only media (the MD5-digest 1624 algorithm determines an electronic "fingerprint" for files to 1625 indicate their uniqueness -comparing more recent checksums to older 1626 ones can alert you to changes in important system files), installing 1627 tripwire on your systems (notes size and MD5 checksum changes, among 1628 other sanity checks), and periodically testing the integrity of your 1629 machines with programs an intruder might use, like SATAN and crack. 1630 [Details on MD5 are contained in RFC 1321.] 1632 Most files and fixes go through the basics before leaving you to 1633 figure things out on your own, but security can be a complicated 1634 issue, both technically and morally. When good security is 1635 implemented, no one really notices. Unfortunately, no one notices 1636 when it's not taken care of either. That is until the system 1637 crashes, your data gets corrupted, or you get a phone call from an 1638 irate company whose site was cracked from your machines. It doesn't 1639 matter if you carry only public information. It doesn't matter if 1640 you think you're too small or unimportant to be noticed. No one is 1641 too small or too big, no site is immune. Take precautions and be 1642 prepared. 1644 11. Acknowledgments 1646 Joseph Aiuto 1647 Sepideh Boroumand 1648 Michael Century 1649 Kelly Cooper 1650 Lile Elam 1651 Dan Harrington 1652 Julie Jensen 1653 Walter Stickle 1655 12. Authors' Address 1657 Janet Max 1658 jlm@rainfarm.com 1660 Scott Stoner 1661 stoner@artsedge.kennedy-center.org 1663 Appendix A. 1665 ++humanities computing projects, research projects, 1666 ++text encoding project (michael century) need to maintain perspective 1667 ++of the historic art archives and the "current" art in culture 1668 ++AHIB? Marty Harris, Susan Sigfried NIDGE? 1670 Examples of Projects on the Internet of Interest to the Arts and 1671 Humanities Communities 1673 The commonplace insight about the web as a new distribution 1674 channel for cultural products is that it effaces the traditional 1675 border between producer and consumer. Publishers exploit two-way 1676 interactivity by re-designing the editorial mix to include reader 1677 response. Here follows some examples of the way creative artists 1678 attempt to design structures flexible enough for significant viewer 1679 input. 1681 RENGA (http://renga.ntticc.or.jp) - An inspired transposition of a 1682 traditional collaborative writing practice into the realm of digital 1683 media supported by the NTT InterCommunication Centre in Tokyo. Renga 1684 means linked-image or linked-poem, and draws on the Japanese 1685 tradition of collaboration which effaces the unique notion of 1686 original author. 1688 PING (http://www.artcom.de/ping/mapper) - by Art+Com, a Berlin 1689 based media centre and thinktank. Art+Com is a leader in producing 1690 high-end net visualization projects. Ping lets the browser add a 1691 link, which then becomes a part of the ongoing visual structure. It 1692 is similar, in this sense, to the Toronto Centre for Landscape 1693 Architecture's OASIS site. 1695 Art+Com's T-Vision project (http://www.artcom.de/projects/terra) 1696 which uses satellites and networked VR computers to permit an 1697 astonishing fly-in to earth from space: acclaimed as one of the most 1698 imaginative realizations of the potential of networked computing. 1700 OASIS(Image)INTERNET-DRAFT Toronto Centre for Landscape 1701 Architecture's OASIS site requires a specialized browser, but from a 1702 standard Netscape connection, you can view stills that give a sense 1703 of the beautiful images produced by the collaborative "design 1704 process". It is introduced by its designers as follows: 1706 Oasis is a shared 3-Dimensional navigational environment for the 1707 world wide web. This virtual landscape allows one to bury their own 1708 information links throughout the terrain or to discover and connect 1709 to new information left by others. 1711 TechnoSphere (http://www.lond-inst.ac.uk/TechnoSphere/) Is 1712 TechnoSphere a Game? 1714 Yes and no. It's an experiment on a global scale, a chance to 1715 develop complex artificial life on digital networks. TechnoSphere is 1716 interactive like a game, but transgresses the linear boundaries of 1717 branching and hierarchical games narrative to enable freer movement. 1718 TechnoSphere is designed to encourage a non-linear experiential 1719 exploration. 1721 Body Missing (http://yorku.ca/BodyMissing/index.html) 1723 Toronto artist Vera Frenkel created this richly evocative site on 1724 the disappearance of art and memory as an extension of her Transit 1725 Bar installation. It is conceived as a site open to new 1726 'reconstructions' of the artworks confiscated during the Third Reich. 1727 First opened to the public as part of the ISEA95 exhibition in 1728 Montreal, it has since earned widespread critical comment and praise. 1730 Molecular Clinic 1.0 1731 (http://sc_web.cnds.canon.co.jp/molecular_clinic/artlab_bionet) 1733 Molecular Clinic 1.0 ' is an art project realized through a 1734 collaboration between ARTLAB and Seiko Mikami, and is one of the most 1735 elaborate custom designed art projects yet created for the Web. 1736 During their initial visit users should download the MOLECULAR ENGINE 1737 VIEWER, which is a type of molecular laboratory for their computer. 1738 What they will see on the web site after this initial download is a 1739 virtual space containing a three dimensional computer generated 1740 Spider and Monolith object. The user will be able to navigate 1741 through and into this virtual space and can zoom into the spider all 1742 the way to the molecular level. 1744 File Room (http://fileroom.aaup.uic.edu/FILEROOM.html) - 1745 Cumulative database info on Censorship, hosted in Chicago but 1746 conceived by Spanish artist Antoni Muntadas. 1748 Idea Futures (http://if.arc.ab.ca/~jamesm/IF/IF.html) - 1750 Winner of the grand prize at the 1995 Ars Electronica competition 1751 for Web Sites, Idea Futures is a stock market of ideas, based on the 1752 theories of mathematical economist Robin Hanson. The 'truth' of any 1753 claim is assigned a weight calculated by the amount of virtual cash 1754 which members of the exchange are willing to bet. The scheme leads 1755 might lead toward a radical democratization of academic discourse, 1756 but just as easily, toward the trivialization of thought. See the 1757 following for a philosophical critique of the system. 1758 (http://merzbau.citi.doc.ca/~henry/Matrix/Erewhon.html) 1760 Firefly (http://www.agents-inc.com/) also a prize winner at Ars 1761 Electronica in 1995, Firefly is an prototypical example of what 1762 enthusiasts call a "personal music recommendation agent", which makes 1763 suggestions for what you might like to listen to, based on a stored 1764 profile of your own likes and dislikes, and the evolving ratings 1765 submitted to the system by other members. Worth visiting, if only to 1766 understand what all the fashionable hype about 'intelligent agents' 1767 is all about; skeptics should know that even the promoters of these 1768 services admit the circularity of their systems: they're capable of 1769 reinforcing existing taste, but little else. 1771 Appendix B: Some other URL's of interest 1773 Art on the Net 1774 http://www.art.net/Welcome.html 1775 Artist Memorials 1776 http://www.cascade.net/kahlo.html 1777 Writers 1778 http://the-tech.mit.edu/Shakespeare/ 1779 http://www.rain.org/~da5e/tom_robbins.html 1780 Photography 1781 http://www.nyip.com/ 1782 Personal Journals 1783 http://grateful.dead.net/RobertHunterArchive.html 1784 http://www.cjnetworks.com/~jessa/ 1785 Musical Groups 1786 http://www.dead.net (Grateful Dead) 1787 http://www.netspace.org/phish/ (Phish) 1789 Appendix C: 1791 To get started you may send a message to RFC-INFO@ISI.EDU with 1792 requests such as in the following examples (without the explanation 1793 between []): 1795 Help: Help [to get this information] 1797 List: FYI [list the FYI notes] 1798 List: RFC [list RFCs with window as keyword or 1799 in title] 1800 keywords: window 1801 List: FYI [list FYIs about windows] 1802 Keywords: window 1803 List: * [list both RFCs and FYIs about windows] 1804 Keywords: window 1805 List: RFC [list RFCs about ARPANET, ARPA 1806 NETWORK, etc.] 1807 title: ARPA*NET 1808 List: RFC [list RFCs issued by MITRE, dated 1809 1989-1991] 1810 Organization: MITRE 1811 Dated-after: Jan-01-1989 1812 Dated-before: Dec-31-1991 1813 List: RFC [list RFCs obsoleting a given RFC] 1814 Obsoletes: RFC0010 1815 List: RFC [list RFCs by authors starting with 1816 "Bracken"] 1817 Author: Bracken* [* is a wild card matches everything] 1818 List: RFC [list RFCs by both Postel and Gillman] 1819 Authors: J. Postel [note, the "filters" are ANDed] 1820 Authors: R. Gillman 1821 List: RFC [list RFCs by any Crocker] 1822 Authors: Crocker