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Digital Fringe 2008 Acquittal 1

Digital Fringe 08

Acquittal Report (November 2008)

Contents

1 Narrative Report 2 Detailed SWOT Analysis

3 Audience Feedback

4 Financial Report

5 Marketing and Publicity report

6 Appendices


1 DF08 Narrative report

NARRATIVE REPORT When completing the narrative report for your acquittal, please consider the following

information (as applicable). Feel free to present this information in the manner you

deem most suitable (i.e. using tables, dot points, etc). HIGHLIGHTS

1. List up to 3 ‘highlights’ from the event, i.e. achievements that would encourage

future support. ACTIVITIES

1. Please provide an overview of the staged event, and summary of the project

execution (event schedule/program/screenings, etc). 2. Do you think you were successful in achieving your original strategic vision? What

evidence are you able to provide to demonstrate this? Please outline the specific

benefits to the audience, with reference to the intended outcomes listed in your

submission.

3. Please provide listing of speakers, guests, workshop leaders, where applicable, that

participated and a brief biography demonstrating their suitability to your project.

Project overview

Digital Fringe (DF) was conceived as a partner festival to the well-established Melbourne Fringe Festival. The objective of the festival was to showcase the works of local and overseas artists and

to place visual digital art in a range of non-traditional public contexts. It is an open access

festival that has quickly established itself as the digital arts arm of the Melbourne Fringe Festival.

2008 was the third year for DF. DF08 increased its' exposure, refined its' systems, further

consolidated the link with Melbourne Fringe Festival and continued to expand its' associations with new media artists and public screens across Victoria. DF is about putting emerging screen content

in new places and building a network of existing screens in public to showcase this material. While there are numerous online repositories of video and new media art on the web, no-one else is

taking this content out into public screens and spaces.

Digital Fringe has 2 distinct aspects:

1. The General Stream - the collating of digital artworks through the Digital Fringe

website, and their screening via the web and numerous public screens

2. The Performative components - MPU, events, workshops and gigs

1. General Stream:

Submitted artwork was uploaded by artists to the Digital Fringe website. Play lists were

collated and then fed to venues across Melbourne and regional Victoria, and played on the DF website. The content callout process realized 977 entries from 425 artists from all over

the world and it was showcased on 112 venue screens across Victoria. These included

hospitality, commercial, cultural and retail venues as well as public spaces. A virtual carousel of works played on the DF homepage, which received over 30,000 unique visits for

the duration of the festival. An estimated 250,000 people saw the general stream playing in some public place during the festival.

The website was the ‘home' of DF. It provided an interface where people could contribute works, watch other's artistic endeavours, and keep track of DF events. We have consciously


aimed to establish an open system where people can rifle through, look at and download works they like. We continue to work towards a 'digital bazaar' where ideas, content and

contact details can be exchanged commented on and distributed. We have had many

queries post festival from curators wanting to include DF artist's works in other exhibitions and are currently negotiating content sharing and distribution arrangements with other

companies.

See Appendix A for a complete list of screening venues

See Attached DVD for curated works from DF entries See Appendix B for 'General Stream' statistics : artists, artworks, entry types, where from,

licensing breakdown

2. Performances

The performance aspects of DF involved a launch party and open audio-visual jam with the

Outpost collective, a series of outings with the Mobile Projection Unit (MPU), a projection

walk as part of the Urban Screens Melbourne conference, a series of avant-garde audio-visual performances curated by Annalee Koernig under the Stutter umbrella, Netlag - an AV

performance that took place simultaneously in 6 location around the world and were connected via stream feeds over the internet, and a hands on video art and vj workshop

that incorporated remix techniques and discussion of creative commons licensing as part of

the Institute of Sound series run by Clan Analogue. A total of 99 performers and artists were involved across all events.

Digital Fringe Launch Party - Wednesday 24th September Digital Fringe kicked off this year with a party and performances at Horse Bazaar. The

Outpost collective presented a special Digital Fringe edition of their open access AV jams,

and featured AV performances by a bunch of special solo guests (Jpak, Soup, Amanska, Evil Jed, Ross Becina (Mulchwerk)) and feature act - Welcome Dear Friend. Welcome Dear

Friend are a song and video collaboration between Eugenia Lim (Tape Projects/Outpost), Lynnelle Moran (Velure) and Dan West (Outpost/Velure). Folk melodies on voice,

glockenspiel, melodeon and synthesizer intertwine with subtle electronics and delicate video

performed live. The evening also featured Digital Fringe artworks on the Horse Bazaar screens and an open

AV jam that anyone could join.

Institute of Sound - Monday 29th September

Clan Analogue, Horse Bazaar & Digital Fringe present a Video Art, VJing & video Mashup

workshop

Institute of Sound is a monthly series of workshops run at Horse Bazaar by the electronic arts collective Clan Analogue. Each month a guest presenter examines a particular aspect of

electronic music performance and production, including live demonstrations and a Q&A

session. This is followed by a live performance and an opportunity for members of the audience to take part in hands-on jamming.

For the September Institute of Sound session Clan Analogue presented a special session on

VJing, Mashup and Live Video Art as part of the Digital Fringe. Three prominent Melbourne video artists, Jonty Burton, Mr Pike and Jean Poole, were invited to talk about VJing,

Creative Commons and modern video performance as an artform. Each artist talked about

their background and how they had become involved in video art. Different philosophies and attitudes to video art were discussed and how the artists developed their work. Some

demonstrations of software, hardware and technique followed. After a Q&A session each

artist gave a live video performance accompanied by Clan Analogue’s DJ figital. The evening concluded with audience members being able to try out the equipment and experiment with

VJing techniques guided by the presenting artists, while Clan Analogue’s DJ Chosen laid down some great accompanying grooves. Overall the evening was a great success with 40

people coming along to hear the talks and take part in the workshop.


MPU (Mobile Projection Unit): The MPU again required a significant investment in resources both infrastructure and time.

With financial support from Crumpler, we fitted out a vehicle with considerable computing

power, Satellite GPS, a 5000-lumen projector with a long throw lens and wirelessly connected it all to the internet. Effectively creating a mobile live Internet broadcast van. The

DF website displayed live video feeds, the live satellite tracking maps (following the van around Melbourne) and a ‘shoutbox’ allowing the public to communicate with the MPU. The

MPU had 8 excursions out around town over the course of the festival

See http://digitalfringe.com.au/?q=node/25 for images

See Appendix C for more detail on the MPU crews

USM08 projection walk - Saturday 4th October

The Urban Screen Conference (www.urbanscreens08.net) hit Melbourne and DF08 was

asked to provide screen content (the General Stream) across all the Conferences public screens and to create and curate a mobile projection walk. 5 Melbourne artists set up

projection installations in the streets and alleys around Federation Square. Conference participants and the general public were led on a short walk (approx 60 mins) around these

installations by a Ring Leader with a loud hailer, and a purpose built 'Video Unit' and mobile

projection system that kept everyone together and entertained with a live video feed of the crowds and environs.

http://maps.google.com.au/maps/ms?ie=UTF8&hl=en&msa=0&msid=101072926055038306849.0004580351ebb2e910710&ll=-

37.817811,144.968837&spn=0.005526,0.009656&z=17

See appendix D for photos, documentation and details of the artists.

Net-Lag:Vapour Trails - Thursday 9th October

Net Lag: Vapour Trails was a series of interconnected events happening simultaneously in

Melbourne, Brisbane, Perth, New York & Tokyo.

The Melbourne leg happened @ Horse Bazaar from 7PM to 1AM, presented by the Plug N Playand Share Outpost crews.

How many flavours of crazy?

• whole stack of live music, audiovisual performances @ Horse Bazaar, and streamed to

web and other events via mogulus.com/netlag

• live performances from events @ Brisbane, Perth, New York & Tokyo also streamed into Horse Bazaar via mogulus.com/netlag

• remixed digital fringe festival submissions (digitalfringe.com.au) and artist content

tagged ‘melb2008digitalfringe’ @pool.org.au, flickr, blip.tv, vimeo.com and freesound. • Audiences at each event, and people watching on the web could contribute via the

mogulus live chat interface, or by sending twitter messages which showed up as text

scrolling across the main stream out.

Show started @ 7pm Melbourne time, which is 1-7am PST and 4-10am EST


Stutter Gigs

Horse Bazaar was proud to present: A special season of STUTTER for Digital Fringe

Stutter is a weekly night of experimental/unpopular/avant-tard/acoustic/electronica/call-it-

what-you-will, music and performance madness, featuring live acts from the entire planet of noise.

Stutter's Digital Fringe sessions included:

Wed 1st Oct - Shoeb Ahmad solo + Spartak Quartet + David Shea + Kusum Normoyle Sun 5th Oct - Singing Sadie (NSW) + The Charles Ives Singers

Wed 8th Oct - SxSxSx + Robin Fox Laser Show + Abre Ojos + Gid

Sun 12th Oct - Maruosa (Tokyo) + VOLZOY a.k.a. aaaaa (Osaka) + numb'n'dub (Osaka) + Xian + Fuck, the Retarded Girl + dj Ai Yamamoto

See Appendix E for more details on performers

Festival Highlights included

1. Projection Walk

As part of the Urban Screens conference, Digital Fringe was commissioned to create a

projection walk around the laneways of Melbourne. Our mobile projection and video

units led a crowd around a series of laneway projection installations.

2. The General Stream - diversity of entries and public screens

There was a large increase in the number of screens participating in this year's DF, especially in outer suburbs and regional Victoria. That the general stream was

included as part of the cultural programme for the Urban Screens Melbourne 08

conference for its international audience of Urban screen delegates was testament to the strength of the Digital Fringe content.

3. MPU wowing public audiences

The guerilla style of urban projection appeals to people, both participants and the

public, because it disregards commercial interests and the orchestrated nature of most media within the city.

Do you think you were successful in achieving your original strategic vision? What evidence

are you able to provide to demonstrate this?

Digital Fringe was successful in achieving all elements of our original strategic vision. The open access nature of the general stream and its public manifestations online and on screens through out

public space, all contribute to the core underlying aim of Digital Fringe, which is to foster the

development of screen culture for both producers and consumers.

• We fostered local arts practice and screen culture at a number of levels. This was

evidenced by the opportunities for public screening provided to the 425 registered artists -

access to 112 public screens, availability of the MPU gear to project around the city, and the opportunities presented to participate in one of 8 workshop or performance events that

was taken up by 99 local artists.

• We placed digital visual works in public space and non traditional art contexts. This is evidenced by the 112 screens in a wide range of public spaces that played the General

Stream, as well as the 8 outings with MPU.


• We provided public outlets for a wide range of cultural screen output (not just narrative or short film) and enhanced exposure for a wide range of artists. This is demonstrated by the

diversity of entries (style and type) included in the attached DVD, as well as the variety of

screening spaces (see Appendix A). • We developed online audiences for innovative visual content. This was the least

satisfactorily achieved of our aims. Whilst the DF site did receive a considerable 30,000+ hits through the course of the festival, this was slightly less than the web traffic from the

previous year. We had hoped to expand this considerably so this was a disappointment.

• We exposed local audiences to new types of work (when and where they least expected it. As previously mentioned - the diversity of works and screening locations meant that a very

broad section of the general populace (an estimated 250,000) saw a wide range of digital

art works in unlikely locations. • We created engaging and interactive experiences for local public audiences. The MPU does

this every time it goes out in public. Its unusualness always excites interest from those

who come across it. We had hoped to create an interactive installation as a commission for the Fringe festival club but funding for this fell through so it was unfortunately not

realised.

• We believe we made local audiences more aware of screens in public space and question their domination by advertising. We have no hard evidence of this but anecdotally, we

witness people stop and become engaged with the screened content when they notice it. Part of its unsualness in the variety of public screening contexts already stems from the

fact that it is an art project and not selling them anything. This is particularly the case

with the MPU because there is often direct engagement with the general public as they come and ask what you are doing and why.

• We are developing Digital Fringe as a portal of digital content where business and

consumers can connect with artists. We have already had queries post festival from curators wanting to include DF artist's works in other exhibitions and are currently

negotiating content sharing and distribution arrangements with other companies.

Please outline the specific benefits to the audience, with reference to the intended outcomes

listed in your submission.

INTENDED OUTCOMES

Digital Fringe successfully continued to push new digital media into a wide range of places from public and personal screens to the live performance of the MPU. The aim was to create as many

locations as possible screening, projecting and interacting with digital media for the duration of

the festival (and beyond). Our originally stated "intended outcomes" were:-

Creative Commons

We achieved a very high uptake of Creative Commons licenses among entries - only 21.5% of

entries maintained full copyright protection. We hadn't set any numerical targets for this but

this result well exceeded expectations.

Screen Procurement

We successfully expanded the uptake of public screens this year, exceeding our projected target by 72 screens, and gaining screens in regional Victoria and Tasmania.

Artists’ submissions to the General Stream


We almost exactly achieved our target number of submissions - falling short by 23 entries.

Web Hits.

We underperformed on our projected web traffic - falling short of last years figure by about 5000 hits. This was a disappointment as we expected considerable growth with this years traffic. This

highlights two things about the running of Digital Fringe: that we perhaps need to consider

further online marketing, but also that one of the festivals main strengths is very much its manifestations in public space.

Fringe Festival Hub

The General Stream screened nightly at the Fringe festival hub, but we failed to realise the planned interactive sms/mms installation. This was due to Melbourne Fringe no longer being

able to provide the funding that they had earlier offered to develop this ($5000).

DF Screensaver Program

This downloadable application was not realised due to funding constraints. Most unfortunately,

we didn't gain as much sponsorship as expected so this was one element that we chose to abandon. The lack of funds prevented the development of the software and also raised concerns

about potential increased bandwidth/data costs from our web hosts who provided all hosting and

traffic free of charge.

Digital Bazaar

The re-designed website had improved functionality and better search and categorisation features of the content. As previously mentioned, it didnt receive the amount of traffic we had

hoped for, but did provide a much improved user experience.

MPU

A very popular aspect to DF, we continued to provide the vehicle for artists and their crews to

publicly project their material around Melbourne. We were unable to afford the articulated

bicycle we had hoped for, so once again used Charlotte the Magna Station Wagon. Charlotte has recently gone to the great car-yard in the sky and shall be sadly missed. She is mourned by

Horse Bazaar, Digital Fringe and the many artists who graced her stained upholstery - R.I.P Charlotte (1985-2008).

Volunteers

We originally envisaged the involvement of more volunteers - expecting to utilise 6 people. However, arrangments changed after an early meeting with Melbourne Fringe. They provided us

with a permanent intern who worked on Digital Fringe 1 to 2 days / week for approx 6 months.

So we ultimately got many more intern hours than we'd hoped for. This proved easier to manage and provided greater continuity than our previous experiences of managing numerous

volunteers. She was a dynamo and really helped to expand the screening venues. We will

expand this intern involvement for next years festival and are currently in discussion with Fringe in relation to this (and other aspects of increased support). We also employed a local artist to

assist with admin in the weeks proceeding the festival.

See Appendix F for Intern's Report

Specific Benefits to Digital Fringe Audiences

We believe that our greatest measure of success is the expanding of the festival audience,


unfortunately not online, but in the real world. Our central aim is to increase the exposure of festival content and artists, to expand the horizons of local audiences, foster the local screen

culture amongst creators, and to develop public knowledge of screen based visual art forms.

Audience benefits, direct and indirect, that result from Digital Fringe include:

• exposure to a wide range of works - styles, types, genres, formats, & media

• expanded exposure to a massive general public audience - an estimated 250,000 peoples over 3 weeks

• variety of non traditional arts locations catching general public and not solely arts

audiences • variety of opportunities for emerging artists for broad public exposure

• opportunities for artists to engage and speak directly to their audience ie - with crowds

gathering around the MPU • networking opportunities for artists - fostering the development of local digital screen

culture and practice

• expanding of the content of the creative commons with a great uptake of CC licences. The idea of locking up content hinders the reuse, remixing and reproduction of cultural

content, which is important for fostering and developing new ideas, and critical and creative practice. If artists are hindered from drawing on the media environment from

within which they work, our culture suffers as a result. Part of our mission is to raise

awareness of issues surrounding licensing and the public domain. This benefits everyone!

Project Summary - Areas for improvement and DF2009

In summary, DF08 was ambitious in scope and a great success. A lot was achieved with a

limited pool of resources. The festival was technologically creative and conceptually innovative, artistically supported and publicly well received. It engaged audience’s in a variety of public

spaces and broadened artist exposure. We think that Film Victoria & DMF can be comfortable in the knowledge that the grant awarded to Horse Bazaar as part of the Public Screen Engagement

program, for Digital Fringe contributed to enhancing Victoria’s reputation as a leader in

innovative digital culture. The funding and sponsorship provided to DF not only helped to consolidate a new media arts festival, but has also given Horse Bazaar a help in engaging with a

number of related media projects. An important part of DF is interacting with the local creative

culture and being a part of the cross pollination of ideas that connects with a global network of digital artists.

Changes at Fringe Headquarters have lead to greater integration of Digital Fringe with the Melbourne Fringe festival. We are currently negotiating for further future support - to include

office space at Fringe HQ, expanded roles for interns, and support in the development of partnerships and sponsorship arrangements to secure further funding for future DF festivals. In

the lead up to this years festival, the changing of the Fringe general manager and the resulting

disruption to Fringe festival admin operations impacted directly on DF. MFF renigged on the $5k promised for an interactive installation at the festival hub, and MFF didnt provide the marketing/

publicity support or dedicated access to the festival publicists that we had expected to achieve

our publicity goals and raise DF's public profile.

In summary we received almost 1000 entries from all over the world, screened digital works on

112 public screens across Victoria, had 8 crews take over the MPU , generated considerable web traffic, and put on a series of workshops and performances. There was a marked growth in

festival submissions, artist participation and our network of public screens, but there was not the

expected growth in online traffic, festival publicity, or sponsor / partnership arrangements. Despite these few disappointments we are very proud of the growth and quality of this years

Digital Fringe festival. We are in the planning stages for growth and expansion for DF09.


2 SWOT Analysis

S.W.O.T ANALYSIS

WHEN COMPLETING YOUR ACQUITTAL REPORT, PLEASE PROVIDE SOME INSIGHT INTO

YOUR POST-EVENT ANALYSIS THROUGH A SWOT-STYLE REPORT. LISTING 2-3 POINTS

UNDER EACH HEADING IS SUFFICIENT. SOME OF THE QUESTIONS YOU MAY WISH TO

CONSIDER ANSWERING ARE:

STRENGTHS: • Why were you/your organization the best entity to deliver this project?

• What do you do better than anyone else working in the field? • What does your audience see as your strengths / the strengths of the project?

WEAKNESSESS: • What could you improve if you run the project again?

• What would you avoid in the future?

• What are your audiences likely to see as the project’s weaknesses?

If you intend to stage this (or similar) project again in the future:

OPPORTUNITIES: • Are there opportunities that you have identified that could be exploited in the

future?

• Are there trends you are aware of that may impact your project in the future?

THREATS: • What obstacles might you face in the future?

• What else is taking place in the context of your project?

Strengths

Digital Fringe:

• has increased opportunities for emerging artists • giving 'free' content to a number of screen outlets

• promotion of alternative screens and contexts for general public to see screen based

artwork • has developed a solid base of systems and infrastructure

• databases of screens and artists • equipment

• website

• is integrated and supported from a well regarded and successful festival, the MFF • runs on the smell of an oily rag - able to achieve much with minimal resources (like the

diggers we make up for lack of resources with ingenuity)

• provided limited employment opportunities for a few local artists - paid performance and administrative role

• is easily transportable to other locations both regional, interstate and internationally

Weaknesssess

Digital Fringe:

• failed to get further required sponsorship/partnership support


• has limited resources • staff stretched beyond capacity

• unable to properly remunerate employment

• held back festival expansion • is still inexperienced with marketing and publicity - more resources in this area would help

achieve greater audience reach • didn't experience the expected increase in web traffic this year

• didn't complete the screensaver function that could be a great portal to getting DF content

onto idle screens

Opportunities

Digital Fringe:

• wants to expand - taking DF to other fesivals - adelaide, sydney, singapore fringe as well as a host of regional festivals

• will plug into overseas networks of major public/urban screens that we connected with

through the Urban Screens conference - ie mike gibbons - london olympic network • will tap into mobile content distributors - definite area for expansion as data rates get

cheaper and consumer habits change • aim to get a supportive mobile carrier

• expand experimental audio side of the festival. there was a suprising increase in the

number of audio entries • Publicity: This is the weakest area of DF. We acknowledge that this area is crucial and vow

to improve on this in the future. We will request more hands on support form the Fringe

festival publicists • having media partnerships with a number of people: portable content, yomo

Threats

Digital Fringe:

• is unsustainable funding model currently - almost entirely depend on external govt funding - need to further develop corporate partnerships and ideally self funding through content

aggregation and distribution • is affected by the economic downturn, making $raising more difficult

• needs better sponsor management: having a realtionship with 3RRR which precluded us

from dealing with 3JJJ

• needs to be better resourced to maintain and improve it’s delivery and promotion


3 Audience Feedback Data and Analysis

AUDIENCE

1. Provide any relevant statistical data regarding the audience for your project,

including attendance numbers for each project event, demographics, etc. 2. Provide any survey/anecdotal evidence demonstrating the effectiveness of your

project in meeting its intended outcomes.

STATISTICAL REPORTS (Appendix 1)

KPIs (Key Performance Indicators). Please provide a report on your KPIs in the

following format.

KPI TARGET ACTUAL PREVIOUS ACTUAL PREVIOUS ACTUAL NOTES TO

VARIATIONS

(if applicable) (if applicable) Where your project has been staged previously, please provide available statistics for

the last five years to demonstrate growth/change in the project.

Target Audience and Demographic

Digital Fringe addressed a broad audience and demographic. Audience includes media makers

uploading their content to the site, people inadvertently stumbling across digital art in public places, and connoisseurs of digital art who trawl the DF website.

The typical demographic of the Fringe festival are between 16-30 year old. They are culturally engaged and mobile, with high uptake of new technologies, and influence in the media and

culture-making communities. They are often highly educated, and have few financial commitments outside of leisure and recreational expenses. They are keen to make a difference to

the world through the application of their ideas and creativity.

Digital Fringe's audiences are varied:

• People Who Visit the Website

The Digital Fringe website received over 30 000 visits during the festival. This was down on last years 36 000 unique visits

See Appendix G for detailed statistics on the website traffic.

• The Variety of Screens that Play DF Content

A very broad mix of peoples who saw DF artworks on public screens in galleries, pubs,

bars, cafes, restaurants, retails outlets, libraries, swimming schools, public plaza's, and

shopping centres in CBD, suburban and regional locations

Through the General stream and MPU, Digital Fringe was delivered to a wide variety of screens and popped up in the most unlikely of places; from Federation Square to TV

screens in Harvey Norman and JB Hifi. Feedback from people on the street and screening

venue staff was positive with all expressing great interest in the project. Whilst targeted at people familiar with digital art we also intended that the festival reach beyond this

audience. Anecdotally the response in public spaces was great but we don’t have any


figures to quantify how many peoples engaged with DF content in the wide variety public spaces in which it was found.

DF08 had 112 public screens, well up on the 50 from the previous year. An estimated

250,000 people saw DF content on a public screen during the entire festival.

• Entries: Media Makers Who Enter Their Works

See Appendix B for detailed statistics on entries to the general stream - we received 977

entries from 425 artists, up from the 800 entries last year.

• People Who Attended Live Performances and Workshops

There were a number of well patronised gigs and workshops

Digital Fringe Launch Party - Wed 24th Sept - 76 pax

Institute of Sound - Video Art, VJing & video Mashup workshop - Mon 29th Sept

- 40 pax Netlag Thurs 9th Oct - 68 pax @ Horse Bazaar - average of 50 at anyone time

online - total 542 online through the course of the event Stutter's Digital Fringe sessions:

Wed 1st Oct - 64 pax

Sun 5th Oct - 39 pax Wed 8th Oct - 56 pax

Sun 12th Oct - 48 pax

Total 933 people attended for all events and 99 artists we're involved across all

performances.

• MPU (mobile projection unit)

MPU participants and individuals who stumble across the projections

See Appendix C for details

We sent surveys (see Appendix I) to all screening venues but had a really poor response rate -

only about 6% were returned. All that responded provided very positive feed back. Here's selection of quotes:

• We'd love to take part again next year

• I was great to have the opportunity to be involved, and to be able to screen such interesting contemporary work.

• We really enjoyed the work and would love to be involved in future showings.

• We would definitely like to do it again. it was better than I expected • I'm very impressed with Digital Fringe.

• The DF clips were short, sharp, and engaging, and provided good exposure to different

styles of interpretation and presentation - this was useful with our programs, as we run several media-based learning programs.

• Staff spoken to about the DF were happy with the variety of clips, and said it helped to make the space vibrant and engaging. Members of the public were seen watching the clips

on a daily basis.


KPI (Key Performance Indicators)

ITEM PERFORMANCE

INDICATOR

ACHIEVED

2006 ACTUAL 2007

PROJECTED

2008 ACTUAL 2008 2008

1.1

Artists submitting

work 297 800+ 1000 977

We were pretty much

spot on with

expectations

1.2

Number of

sites hosting a

screen

28 50+ 60 112

screens

expanded

significantly into regional

Victoria

1.3 level of sponsorship

$28,500 $23,000 $35,000 $24,500

Still no major sponsor, we

are approaching

Telcos

1.4 Number of hits on the website

5636 (plus ongoing 1000

per month 36000 40000 30,734

We were slightly

disappointed

that we couldn't get

more web

traffic

1.5

Number of

Phone

Interactions

0 50 200 168

We

successfully

ran a Fringe Furniture

polling system

1.6 Press and Interviews

10 5 12 3

Very disappointing.

Fringe

publicists didn't provide

the support we were

promised

1.7 Number of times the MPU

went out

14 20 12 8

We deliberately

ran the MPU

with far fewer participants

this year

1.8

Number of interns and

volunteers

used

1 4 6 1

We had a permanent

intern at the

fringe office which helped

with continuity

as well as moving

ourselves closer to

Fringe


4 Financial report with details of (cash and in-kind) expenditure

against budget and notes on variations greater than 10%

Explanation of financial variation between the proposed and actual budget

1.1 Bluetooth Streaming to mobile phones didn't happen as it's not our core thing. We have since 'given' content to yomo.com for them to do it and are exploring commercial arrangements

with them as an ongoing arrangement. Yomo are setting up bluetooth streaming from major

transports hubs and shopping centres across australia

1.3 City of Melbourne helped us with the call for screens in the CBD but failed to help with the

call out for entries

1.4 Melbourne Fringe had a change of CEO general manager half way through the preparation and reneged a commitment for a $5000 art installation. This was made up by having a dedicated

intern who worked initially one day per week and up to two days per week on Digital Fringe

1.5 Federation Square gave Digital Fringe $3500 to put together the USM08 projection walk

1.7 Crumpler pulled back their sponsorship of the MPU to $1000

1.8 SMS Global gave us full support in hosting and use of the SMS gateway, this cost equivalent

of $1700 cash saving to Digital Fringe

1.9 3RRR become a media partner giving us half price on 20 radio carts

1.10 Creative Commons gave us prominent listing on their site which gave us the most amount

of referrals from any site. This was invaluable promotion for DF and keeps us aligned with our alternative licensing system philosophies

1.11 Artabase became a media partner with reciprocal listings on their website

2.1 Travel costs were kept to a minimum as DVDs were posted out and we delivered the other

DVDs by bicycle. Postage and courier fees are included in this

2.2 Promotion and marketing was much more expensive than we anticipated. We produced 2

DVDs and took out some 3RRR radio carts to promote DF08

• $385 3RRR (20 ads, 3 different types - general df/launch party/netlag event

• $80 netlag flyers for distribution at electrofringe • DVD copies $1262.70

• Poster Printing - $110

• cost of MIFF sponsorship - $2k bar tab for df slide during miff • Art work for promotion $400

• inkind promotion was much more extensive:

• Artabase • Creative Commons

• 3RRR

• SMS Global • MFF

• Fed Square

2.4 Web Hosting was cheaper as a result of in kind support from SMS global. We hope this

support continues!!


2.5 Bluetooth Streaming (see 1.1)

2.6 Video Streaming : continuing with our philosophy of accessing new technologies the used mogulus, a new web based streaming solution that is free (except that they pop advertisements

in if you are a 'heavy user'. This is an exciting concept and already people are using it to connect live streaming at gigs (see the netlag gig that was a part of DF08). This saved us from having to

commercially, albeit with a discount, organise video to be to streamed in real time

2.7 Hardware Setup was cheaper as we didn't have the resources to help people project or

exhibit the DF08 content other than provide advise and promotional support

2.9 Mobile Projection Unit : we went out fewer times in a more focused way, we also had most

of the hardware from previous years

2.10 Wages / Salary : We employed a publicity person to make sure that we got as many

screens as we could and to get the 'call out' in as many nooks and crannies as possible ($500).

Still much of the work is done pro bono (or as a Horse Bazaar contribution) Actual cash wages paid Euginia Lim $500, Simeon Moran $6750, Justin Schmidt $6750

2.12 Communications : existing phone and internet plans were upgraded for the duration of DF

2.14 Book Keeping : We used the Horse Bazaar Book keeper to keep track of all expenses. She just tacked it on the end of her current work and did some administrative tasks as well


5 Marketing and Publicity Report

MARKETING

1. What marketing/publicity activities were undertaken?

2. Were you satisfied that the marketing/publicity was appropriately targeted and

reached the intended audience?

3. If you were to stage this project in the future would you do anything differently?

PLEASE ATTACH A COPY OF ALL COLLATERAL PRODUCED AND ANY PRESS RECEIVED BY

YOUR PROJECT.

Marketing and Publicity activities

The primary method of promotion for the Digital Fringe festival was web based. This was both

due to the nature of the festival and the budgetary constraints within which we were operating.

Regular notices, and calls for submissions and public screens, and other publicity material were sent out to 1000's of arts e-lists, list-servs and newsletters, both local and international, and to

creative and arts university courses. Horse bazaar, Melbourne Fringe and Digital Fringe email lists

were also utilised comprising a targeted audience of about 7000 people. Myspace and Facebook accounts were set up, gaining publicity access to another 1500 cyber "friends" and Youtube was

utilised to promote the festival with a Digital Fringe promotional video that was edited together

from DF07 entries. Regular DF news items were also included in the regular Melbourne Fringe Festival e-newsletter "The Fix" and the Horse Bazaar newsletter. A number of busy arts and

events websites reviewed and promoted DF08 and included links to the DF site including

Melbourne Fringe, Artabase, Creative Commons Australia, Creative Commons International, ABC's The Pool, ANAT, Thats Melbourne, Tourism Vic and RRR. We believe the online promotions really

helped in gaining increased submission of artworks, but didn't seem to result in increased general

traffic to the Digital Fringe website.

See appendix H for Details of DF08 web listings and promotional activity

3RRR sponsored DF and provided a heavily discounted schedule of radio promotions and editorial

on various arts programs. We ran a series of 20 Ads on RRR in the lead up to and during the

festival. Radio interviews were performed on RRR (Richard Watts - Smart Arts), Joy FM (Bridget Boson - Drive time) and JJJ (Fenella Kernebone - The Sound Lab) to promote various aspects of

the festival. Unfortunately, JTV who were going to promote Digital Fringe content online, on ABC

TV and via the JJJ radio network withdrew their support due to the already established association of DF with RRR, citing a conflict of sponsorship. This was rather frustrating and is something that

we will handle differently next festival.

Marketing collateral for Digital Fringe included posters that went out to all screening venues

(150), flyers for the Netlag event (500), flyers and posters for Institute of Sound workshops (250 & 30), and a half page ad in the Fringe festival guide (print run of 75,000 copies). A slide

promoting Digital Fringe was also screened during the Melbourne International Film Festival

(MIFF) before Movie sessions as part of a contra sponsorship deal. Digital Fringe was also promoted in the Urban Screens conference collateral, both print and electronic. We don't have

any information on the distribution of these.

Numerous Press Releases were sent out in the lead up to and during the festival, but

unfortunately no print publicity was obtained. We had been promised extra support and

mentoring from the Fringe festival publicists Buxton Walker, but as a result of the changes and overload at the Fringe office this was unfortunately never received, despite frequent requests.

Despite our own efforts, our lack of media contacts meant that we received no print publicity whatsoever, which was a disappointment.

With the resources that we had, we believe we did a great job of publicising DF. It would have


been nice to have more money for some further promotions and the promised publicity assistance from the Fringe publicist would have made a big difference for increasing the festival's profile in

the media. Some more targeted web strategies for increasing online traffic (metadata, google ads

etc) and some publicity stunts for getting media attention will make up part of our strategy for DF09. Increasing the festivals public profile is tied up with having a stronger brand to sell to

sponsors to help increase their exposure. This is a priority for us in 2009. We will really focus on getting JTV on board as they were really interested and have the capacity to promote the festival

nationally to the youth market.


6 Appendices

ADDITIONAL MATERIAL PLEASE LIST ADDITIONAL SUPPORT MATERIAL YOU ARE SUBMITTING WITH YOUR

REPORTS:

Supporting documents

Appendix A : Complete list of screening venues

Appendix B : 'General Stream' statistics : artists, artworks, entry types, where from, licensing

Appendix C : The MPU crews Appendix D : 'Mobile Projection Walk' - photos, documentation and details of the artists.

Appendix E : Gigs, Performances and Workshops Appendix F : Intern's Report

Appendix G : Detailed statistics on the website traffic.

Appendix H : Publicity - DF web listings and flyers Appendix I : Screen Survey

Enclosed is a DVD of curated works from DF

Pictures are also available for viewing at admin.digitalfringe.com.au and entries will

remain up on the digital fringe site


REPORTING – DECLARATION

I certify that to the best of my knowledge, all information supplied in this report is

correct, and has been approved by the board of directors or equivalent body, and that

I have the delegated authority to sign this report.

Horse Bazaar and Digital Fringe would like to thank Film Victoria for the support

provided, making DF possible. We look forward to a continued association in the

future.

Thanks

Justin Schmidt

Simeon Moran

Horse Bazaar

APPLICANT SIGNATURE

PRINT NAME

POSITION

DATE

HARD COPIES OF REPORTS SHOULD BE FORWARDED TO:

BERNADETTE WOOD

CONTRACTS OFFICER – DEVELOPMENT AND GRANTS

FILM VICTORIA

GPO BOX 4361

MELBOURNE VIC 3001

ELECTRONIC COPIES OF REPORTS SHOULD BE FORWARDED TO:

BLYTHE CHANDLER

INDUSRTY & AUDIENCE DEVELOPMENT OFFICER

FILM VICTORIA

[email protected]


Appendix A

Screening Venues Digital Fringe is showing across the Web and through the following venues across

Melbourne

Public spaces

• Fringe Festival Club: North Melbourne Town Hall (melbournefringe.com.au) • Fringe Lithuanian Club: Errol St North Melbourne

• Fringe Furniture: Melbourne Museum

• Federation Square (federationsquare.com.au) • Main Screen

• Electundra Screen

• Melbourne Visitor Centre • Atrium Screen

• Eureka Tower

• Frankston Art Centre • Bendigo Youth Arts Festival

• Brimbank Community Festival • Briaggalong Film Festival

• WangarattaDigital Lounge Project

• Upper Yarra Arts Centre • Cranbourne Youth Information Centre

• Swan Hill Town Hall

Libraries

• West Footscray Library

• Footscray Library

• State Library of Victoria (Experimedia): (slv.vic.gov.au) • Highpoint Library

• Swan Hill Library

• Frankston Libraries • City Library: 253 Flinders Lane, City (citylibrary.org.au)

Galleries

• Kick Gallery: 239 High St Northcote (kickgallery.com) • Brunswick St Gallery: 2/322 Brunswick St Fitzroy (brunswickstreetgallery.com.au)

• Tocadero Art Space

• St Martins Youth Arts Centre • Kindred Studios (Yarraville)

• Latrobe Regional Gallery

• Wishart Gallery (Port Fairy) • Swan Hill Rurual City Council Performing Arts Centre

• Frankston Art Cube

• Living Colour Studio • Warranbool Art Gallery


Bars and Clubs

• Loop: 23 Meyers Pl (looponline.com.au) • Glitch: Nth Fitzroy (glitch.com.au)

• The Croft Institute (Croft Alley, Melbourne)

• Horse Bazaar: 397 Lt Lonsdale St, City (horsebazaar.com.au) • Order of Melbourne: 2/401 Swanston St (theorder.com.au)

• Transport: Fed Square (transport.com.au)

• E55: 55 Elizabeth St (efiftyfive.com) • Croft Institute: 21-25 Croft Alley (thecroftinstitute.com.au)

• F4: Level 2/322 Lt Collins St (ffour.com.au) • Kent St: 201 Smith St

• Bar 303: 303 High St Northcote (www.303.net.au)

• Meyers Place: Meyers Place • Section 8: 27-29 Tattersalls La

• Billboard Nightclub

• Strike Bowling Bar: 245 Lt Lonsdale St • Lounge: 243 Swanston St (lounge.com.au)

• Blackcat: 252 Brunswick St

• First Floor: 393 Brunswick St (firstfloor393.com.au) • Workshop: 1/43 A'Beckett St (theworkshop.com.au)

• Revolver Upstairs: 229 Chapel St Prahran (revolverupstairs.com.au) • Eurotrash: 18 Corrs Lane Melbourne (eurotrashbar.com.au)

• Robot: 12 Bligh Pl (robotsushi.com)

• The Trust

• The Beach Club: Docklands (thebeachclub.com.au)

• The Apartment: Little Bourke Street

• Kitten Club: Little Collins Street • Troika: Little Lonsdale Street

• BLVD BAR: Southgate (blvd.com.au/)

• James Squire Brewhouse: Docklands (jamessquirebrewhouse.net) • Eve Bar: Southbank (evebar.com.au)

• Nectar Lounge

• The Alley Bar • Element Lounge

• TRUNK - 275 Exhibition Street Melbourne • AlleyCat Bar (North Hobart Tasmania)

• The Hub

• Miss Libertines • Prince of Wales

• The RoofTop Bar

• Cafe Romantica (Brunswick) • Northcote Social Club

• East Brunswick Club

• The corner Hotel (Richmond) • Cape Live (Brunswick Street Fitzroy)

• Napier Hotel (Napier Street Fitzroy) • The Marquis of Lorne

• The Brunswick Hotel

• ALIYA Bar (Gertrude street Fitzroy) • Penny Blue Lounge (Drivers Lane Screen)

Shops

• Harvey Norman: 230 Little Lonsdale Street (harveynorman.com.au)

• Myer • Cash Converters


• Dick Smith Electronics • Retravision

• Telstra Shop

• Camera Action House

• Camera House

• Michael's Camera Store • Cotton on - Bourke Street

• Angus and Roberston (bourke Street)

• Myer (The Basement): Bourke Street • Rose Chong Costumes (Fitzroy)

• QV Urban Market - Food court

• WaterFront City (Docklands)

Schools

• Victoria University Level 17 Art Space • Charles Sturt University School of Visual Art

Miscellaneous

• Sydenham Street swim School

• Van Dyk Swimming Academy • The Paramount Cinema Echuca

• Araples Community Theatre (Natimuk)

• Empty Shopfront (Dandenong: 28 Walker Street) • ING Realestate (docklands)

• Gapstead Wines (Gapstead)

• Michelini Wines (Myrtleford) • Kindred Studios (Yarraville)


Appendix B

General Stream Statistics

Artist Submissions

Total number of entries 977 Videos 210 over 11 hours of video!

Images 542

Audio 57 SMS 168

Origin of Entry

International 357 Australian 281

IP withheld 171 US 152

Great Britain 44

Germany 54 other EU 18

other 89


Licensing and Creative Commons

We encouraged the material created and submitted to DF under the flexible and liberal system of Creative Commons. This is in line with DF’s open source ethos and the direction

that licensing and distribution of media is heading. More information can be obtained here:

http://digitalfringe.com.au/?q=node/26.

21.5% of entries maintained full copyright.


Public Domain 85 Copyright 210

Creative Commons 514

breakdown of CC attrib 23

attrib no derivitates 28

attrib noncom nodev 323 attrib-noncom 45

attrib-noncom-share 81 attrib share 13


Appendix C MPU Crews

Crumpler has kindly supported us to kit out the MPU. Many people listed below brought colleagues

in different combinations on multiple nights

Some MPUers included:

Curious Works - Shakti

Projector Obscura: www.myspace/projectorobscura Dale Nason / Tin Tin Wulia

Keith Deverell / Jon Pak

Lindsay Cox David Campbell

Hugh McSpedden

Robin Fox Anthony Magan / Sean Baxter

Callum Cooper / DJ Wasabi

Sean Healy


Appendix D

Mobile Projection walk

"for those in melbourne this evening digital fringe will be curating a projection walk as a part of the urban screens

melbourne

http://www.urbanscreens08.net/

featuring a gaggle of media artists

callum cooper / dj wasabi keith deverell

hugh mcspedden

lindsay cox helmut head

and making a special appearance, the digital busker

leaves federation square outside the melbourne visitors centre at 8pm (today saturday 4th

october)"


Appendix E

Gigs, Performances and Workshops

Net-Lag:Vapour Trails - Thursday 9th October

Artist Line-up

(Times listed in Melbourne Australian time, other times here)

24:00-01:00 P.Kirn (NY) + various experiments/intercity feedback / jamz /

23:30 Vijay & Sone ( Melb )

23:00 Light Rhythm Visuals ( Tokyo )

22:30 Thug Quota ( vocals / audio ) + jean poole ( video ) dpwolf ( L.E.D.)( melb )

22:00 VJ Zoo ( Perth ) with guest beatboxer

21:30 Share / Outpost audio + video

21:00 Jaymis / Bris ( + other Bris artists)

20:00 Share / Outpost audio + video

19:00 testing signals // Share / Outpost audio + video

Artist Links & info

Peter Kirn ( 9am New York set - Create Digital Music + Motion )

Vijay + Sone Vijay Thillaimuthu : Wild tangles of hair and distortion

SONE: Corey Sands, Keith Deverell ( beats + pixels )

Thugquota ( Live vocal hypnotics ) ( from Bum Creek / Pikelet ) with video by Jean Poole, LED

lights by DPWolf

Jaymis ( jaymis.com / CDM / Brisbane Plug N Play )

Share Outpost AV collective ( Sprawling tech improv )

VJ Zoo ( Perth Plug N Play )


Tokyo ( LightRhythmVisuals in the web-house )

Mobile Projection Unit ( roaming streets of Melbourne, projecting our event signal onto walls, and

a video camera feed of that back to our event.. )

Stutter Wed Oct 1

Shoeb Ahmad / Kristi Monfries - Shoeb Ahmad - Returning to Melbourne to launch his new

release 'Sea Songs, Dead Ends And Sleeping Pills' (Sound&Fury) and it's companion on 'In The

City' (hellosQuare), Stutter will see Shoeb explore extended improvisation using guitar and loops alongside preparations and found sound while navigating the naive songforms of his previous

work. http://www.myspace.com/shoebahmad

http://shoebahmad.blogspot.com/ Kristi Monfries' work is dedicated to a range of mediums that include collage work appropriation

pieces, improvised and experimental music, single chanel video and live video improvisation in combination with musicians, print/design/web. Focused on an individual and whole artistic

approach to living, feminine identity and sexuality, media gathering and re-invention.

http://kmonfries.blogspot.com/ http://www.myspace.com/kmonfries

Spartak Quartet - Spartak swell to a four tet for a special show in Melbourne to coincide with the

Colony Room tour. Featuring Felicity Mangan (bass + electronics) and Kusum Normoyle (voice + electronics) alongside the duo of Shoeb Ahmad (guitar + loops) and Evan Dorrian (drums +

percussion), expect some bustling noise alongside dysfunctional rhythms and microtonal whirr,

somewhere between beautiful and retarded

http://www.myspace.com/spartakmusic

Kusum Normoyle - As a vocalist and electronic artist, kusum's sound has developed a sympathy for broken language and communication technologies. She uses the outer limits of her voice, in combination with varying electronic media, broken instruments, radios, microphones to explore improvisation and vocal norms. A graduate from Electronic Arts at UWS, she is a practicing sound artist /musician in Sydney who has performed alongside Marcus Schmickler, Lawrence English, Jacques Soddell and Toy Bizarre amongst

others.http://www.myspace.com/kusumnormoyle

David Shea - Caves of the Silk Road: A solo sampler work based on the Buddhist stories of the ancient trading route from China to Turkey. Along the desert in China travelers would visit caves

along the road which functioned as temples and devotional sites. Still filled with paintings, statues

and layered in mythological stories I follow the path of a traveler in a solo sampler piece based on stories of three of the caves.

http://www.dshea.net/ http://www.myspace.com/dsheametta

David's performance will also be accompanied with visuals by Kristi Monfries


Stutter - Sunday 5th October :

* Singing Sadie (Dualplover/Sydney) If you have not yet seen her renditions of some of your old favourite dance band tunes, you can expect to be delighted with some very tuneful singing

and high skill tap dance.If you are lucky she will dance with you, the luckier still get to ring her

bells. She has a few new songs to bring along on this trip to Stutter, people will no doubt be lining up to hear ''My gangrenous guy'' and ''Are you going my way? (I'll pay)''.

* The Charles Ives Singers are...David Palliser....alto saxophone, vocals; Alexis Ensor....multihorns, vocals, garden hose & can of peaches; Victor Meertens....lambophone,

goataphone, vocals & baguetteoboe. The Charles Ives Singers take their cue from natural

selection, mostly the history of the vinyl record & a wondering albatross. The theatre of war has also proved fruitful for sound bites.

* Paul Kidney & Pete Warden - Paul Kidney (Psychedelic man about town) will be growling

& groaning to the sounds of Pete Warden (Cult of the Placenta Heads) on his bits & pieces of stuff. * Easter Island - Emanating from the mists comes a sound... what is that? drums?

voices?The silent monoliths have their own music and this may be it. Like a paralytic Martin

Denny and a hallucinating King Tubby jamming on a moonlit volcano.... * Xian of Crimestoppers fame aka dj Sintoon will be playing Greasy R'n'B, Showtunes,

Flamboyant 70's Classical Barbarian Film Themes & Various Exotica between the acts

Stutter - Wed Oct 8:

abre ojos is improvised sound and vision for dystopian meditation created using analogue modular synthesis, temporally shifted video and death metal vocals. abre ojos is a Portuguese

sailing term when moving through dangerous waters meaning "watch out" or "open your eyes".

http://abreojos.net http://myspace.com/abreojos

Robin Fox will turn Horse Bazaar into an intersecting maelstrom of light and sound wielding two

lasers and the in-house surround system www.robinfox.com.au

www.myspace.com/fox_robin

Gid - A video-performance where perception is challenged. By intentionally deconstructing media

and performance space, the work tries to enhance the media that constitutes a live performance and

explores the boundaries between the real and the hyper real of our media saturated society. SxSxSx - Stephen Richards, Steve Law and Sean Baxter - synth, laptop, sax, percussion -

fractured, blasting noise!


Stutter - Sunday 12th October :

* Maruosa (Tokyo)

* VOLZOY a.k.a. aaaaa (Osaka) * numb'n'dub (Osaka)

* Xian * Fuck, the Retarded Girl

* Ai Yamamoto dj'ing between the sets!

Maruosa - 199X Osaka... MARUOSA with too long hair and a strong spine practiced all the

inappropriate behavior by the DTM musician. morbidly cut up edit, death throes screaming, sonic

head banging, etc... he's evolving every day. He toured US(5 gigs), Europe and UK(6 countries, 15 gigs) from 2003 to 2006. In Berlin, it was invited to media art festival ''club transmediale''.

After it returns home, he moved in Tokyo. On 2008, He toured Europe and UK(10 countries, 25

gigs) again. In Barcelona, it was invited to the biggest media art festival in Europe ''SONAR''. Additionally, it was invited to a lot of festivals. and in Autumn, he's touring to Australia for the

first time, was invited to the biggest media art festival in Australia ''THIS IS NOT ART / Electrofringe''. http://www.rendarec.com/

VOLZOY a.k.a. aaaaa is a breeder of a hard beat. It is layer harmonics sound in Jungle

Drum'n'bass etc.. as for hardcore... The sample of various tastes is effectively mixed like Tsti Tie of the junk of Osaka in Japan. Beat and Samples respond when VOLZOY calls when live. It calls

frenzy!!!

numb'n'dub - KONICHI''SAY WHAT''!!!!!! I'm from mathafxxxx' OSAKA. Follow Ove-NaXx,I've created shitz like scrap melodic metal into brutal hiphop soundz or Speed Electronica screamo

IDM a.k.a This iz JAPANESE Fxxkin' new BREAKCORE. Ahhhhhhhhhhhh Samurai harakiri sushi

mathafxxker!!!! Viva la Osaka under_ground 5th generation!!!!!!! Just feeeeeeeeeeeeeeeeel it!!!!!!! http://homepage.mac.com/penilingus/sokushaku/top.htm

Xian's set this sunday will use a similar structure as usual but his source material will be substituted with distorted 20Htz reese bass, pop stabs & unrecognizable drum fragments into

wailing Vietnamese Dan Bao harmonics, Taiko drums & detuned guitar.

Fuck, The Retarded Girl - Solo Improvised Harsh Noise, Contact Mics and Loops are manipulated into a dynamic wall of sound.

Ai Yamamoto - Dj Ai will be playing strange fruity mixes of tunes. Music journey will be from

Japanese screams to French lullaby to make your the rest of Sunday worth while living before Monday. .......

+ GYA-kestra Unleash your beast!! Showcase your scream mastery! Maruosa conducts you! and anyone else who wants to compete for the evening's SCREAM-BEAST-

FREAK title.

Expect the unexpected with musical accompaniments chosen by Maruosa.

Battles / solos / duos / trios / any combinations are welcome.


Appendix F Intern's Report

Position Digital Fringe Intern

Report author Leah Furey

Employment duration 6 months

Reporting to Simeon Moran, Justin Schmidt

Working with Simeon Moran, Justin Schmidt

Location of work Melbourne Fringe Office

Position type Intern

Report date 5 November 2008

Project Description

I undertook a six month internship with Digital Fringe producers Simeon Moran and Justin Schmidt. Working in the Melbourne Fringe office, I was given a number of tasks to work on

including finding screens for the Digital Fringe General Stream, maintaining the Myspace and

Facebook sites, and organizing callouts for screens and content. I worked one day a week on Digital Fringe tasks.

Timeline April – June

Research screen options

Email sent to local councils Set up Facebook and Myspace sites

July – August Research callout options

Conduct screen callout Collate screen/venue information

Contact 2007 Digital Fringe venues

September Conduct content callout

Enter screen/venue information into website

Key Responsibilities

• Contacting local councils to find screens in regional areas

• Maintaining Facebook and Myspace pages

• Creating callout lists • Conducting callouts for screens and content

• Writing copy for callout

• Putting screen information into website

Outcomes

Strengths

• Allocation of tasks to work on independently • Weekly meetings – discuss festival progress and tasks, and answer any questions with

intern, also an opportunity to visit other Fringe staff

• Having a direct contact within Fringe office – keeps DF in the loop


Weaknesses

• Not working in the same office – weekly meetings necessary

• Collecting screen information via email – online form needed earlier

Recommendations

• Create schedule and stick to it

• Begin screen collection and content callout earlier

• Use online form for screen venues to enter own details • Use statistics from 2008 to gain sponsors for 2009

• Contact councils again and highlight involvement of councils in 2008

Conclusion

The Digital Fringe internship was very rewarding. I enjoyed working on a project within the Fringe Festival and making a contribution towards the success of Digital Fringe 2008. Being

given tasks to work on independently suited the position and regular meetings with the

producers helped to keep me on track. I would recommend that future interns be given the opportunity to work on the Digital Fringe project as it allows a contribution to one particular

part of the festival and is a great experience of working within the arts.


Appendix G

Web Traffic


Appendix H

Publicity

Web Publicity

www.melbournefringe.com.au/season/2008/show/324/ www.pool.org.au/blog/pool_team/web_to_wall_video_with_the_digital_fringe

www.pool.org.au/video/digital_fringe/digital_fringe_call_out_2008_0

www.horsebazaar.com.au/ creativecommons.org.au/node/186

www.thatsmelbourne.com.au/Whatson/Exhibitions/Art/Pages/f110ab43-7f33-438f-9bcd-

ea45b12c09bb.aspx grl.anat.org.au/2008/09/02/digital-fringe-08-call-for-submissions/

bock.com.au/electrofringe/?p=296

shareoutpost.org/2008/09/digital-fringe-launch-horse-bazaar-730-this-wednesday-24th-

september/

shareoutpost.org/2008/10/outpost-special-event-digital-fringe-webcast-jam-thursday-october-

9th/ www.universecreation101.com/2006/09/digital-fringe-call-for-digital-art-oz/

www.geekgirl.com.au/blog/?p=386 http://www.aroundmelbourne.com.au/information-articles-and-reviews/the-digital-fringe-festival-

is-seeking-all-sorts-of-screens-across-victoria.html

www.thatsmelbourne.com.au/Whatson/Exhibitions/Art/Pages/6e8280f1-8d86-4e8c-ac44-

338b2adc6066.aspx

www.popcorntaxi.com.au/event.php?event_id=494

esp.anat.org.au/stutter-digital-fringe-melbourne/ lists.artabase.net/pipermail/earth_artabase.net/2007-September/000043.html

scan.net.au/scan/news_events/display.php?story_id=796

scan.net.au/scan/news_events/display.php?story_id=957 film.vic.gov.au/www/html/16-news.asp?n=1558

www.waterfrontcity.com.au/Whatson/EventsCalendar/tabid/102/mid/497/newsid497/251/Default.

aspx

netlag.com.au/

www.artattheheart.com.au/ah/63.asp creativecommons.org/weblog/entry/9524

www.horsebazaar.com.au/newsletters/NewsFlashSept07.html

mcv.e-p.net.au/features/fringe-benefits-4037.html www.youtube.com/watch?v=IWmmv82AkyA

www.melbournefringe.com.au/season/2008/program/madebymelbournefringe/

www.screen.tas.gov.au/news/events/index.php www.geekgirl.com.au/blog/?m=200708

www.qv.com.au/food.html www.theage.com.au/news/arts/motley-is-mainstream-at-the-fringe-

fling/2006/10/06/1159641529672.html

theaustralianindex.com/food/?s=search&searchterms=%22fringe%22&pageNo=10 www.expressmedia.org.au/buzzcuts.php?buzz_category_id=11

mcv.e-p.net.au/index2.php?option=com_content&do_pdf=1&id=4037

dmax.bampfa.berkeley.edu/blog/2008/09/digital-fringe-2008-submit-or-screen-work/ www.visitvictoria.com/lostandfound/issueone/

www.pablodali.net/news.html

https://mail.cofa.unsw.edu.au/pipermail/cofasa-news/2008-September/000035.html www.pluginamp.com/network/node/8986

wordpress.com/tag/digital-fringe

www.skynoise.net/2008/09/05/abre-ojos-big-square-eye-digital-fringe-08/ profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=236757595

isea2008.crowdvine.com/posts/show/1884383


www.houstonartist.org/2008/09/digital-fringe-08-final-call-for.html www.afc.gov.au/newsandevents/afcnews/feature/spaa_fringe/newspage_215.aspx

newmediafix.net/daily/?p=2100

http://readerlist.freeflux.net/blog/archive/2008/09/12/reader-list-fwd-digital-fringe-2008-

opportunity-for-international-screenings-of-new-media.html

creativecommons.org.au/

www.vjzoo.com/downloads/cvvjzoo180707.doc www.deprogram.net/joomla/

www.chrisjoseph.org/wp/calls/digital-fringe-deadline-12-october-2008 osdir.com/ml/culture.internet.nettime-announce/2007-09/msg00068.html

bock.com.au/electrofringe/

movies.groups.yahoo.com/group/indomovie/message/17107 brownpaperbagproject.blogspot.com/2008/09/digital-fringe-festival-melbourne-25.html

flickr.com/photos/dpwolf/sets/72157594351663255/

lists.ibiblio.org/pipermail/cc-community/2008-September/004184.html axnational.e-p.net.au/feature/melbourne-fringe-festival.html

mogulus.jaiku.com/presence/46155356

idash.org/pipermail/my-ci/2008-August/000507.html

plus hundreds of others: google Digital Fringe!

Other Marketing Collateral

MIFF slide

Digital Fringe Poster



netlag flyer


stutter flyer

DF trailer on youtube - http://au.youtube.com/watch?v=IWmmv82AkyA


Appendix I Screen venue questionnaire

Hi ...

Thanks for taking part as a screening venue in this years Digital Fringe festival. It was our third year

and biggest festival to date. Your screen and venue was part of a network of just over 100 screens dotted around Melbourne, regional Victoria, and interstate. Your involvement helped to provide 100's of

artist with exposure to new audiences. We hope you enjoyed the artworks that came your way, and

that they worked well with your customers/audience. We had over 1000 entries submitted this year. Please let us know if you're keen to be involved again next year. I've included a very brief

questionnaire below. It would be great if you could take a few minutes to give us some feedback. Also, if you have an image of your screen, or even better, of your screen playing Digital Fringe, please email

it through to us.

Thanks again

cheers

Simeon

Digital Fringe

Venue feed back questionnaire

How often/what times was the dvd played on your screen?

Can you roughly estimate how many people may have seen/watched it over the course of the festival?

Do you have any feedback on the Dvd / Digital Fringe artworks / the festival in general?

Did you receive any particular customer or staff feedback? What?

Are they any other businesses/screens in your area who you think may be interested in screening

Digital Fringe in the future?

Do you have any suggestion/comments/wishes for future Digital Fringe's?

Please send us in any photos of your screen!

Thanks again


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Documents

Digital Fringe 08 - Overcastovercast.net.au/wp-content/uploads/2015/08/DF08_acquittal.pdf · Digital Fringe 2008 Acquittal 3 aimed to establish an open system where people can rifle