Printmedien im digitalen Zeitalter

Printmedien im digitalen Zeitalter am Beispiel vom Studioglasmagazin GLASHAUS

Im Zeitalter der digitalen Medien stehen die traditionellen Printmedien vor einer besonderen Herausforderung. Für eine Fachzeitschrift wie GLASHAUS ergeben sich daraus sowohl Chancen wie Probleme. Der Eintritt ins digitale Zeitalter mag individuell oder subjektiv sehr unterschiedlich verlaufen, aber die Lehman-Bank-Pleite 2008, hervorgerufen durch digitale Manipulationen am Finanzmarkt, markiert einen Einschnitt, der länderübergreifend alle betrifft. Einsparungen sind seitdem angesagt. Ebendieses Jahr 2008 markiert wie kein anderes den Beginn des sog. Digitalen Zeitalters. Es markiert auch einen Wendepunkt in der Geschichte von GH, das 10 Jahre lang (seit 1999) ein stetig wachsendes Leserinteresse verzeichnen konnte. Seit 2008 sind die Zahlen rückläufig bei Abonnenten und Inserenten. Dem damit verbundenen finanziellen Abwärtstrend zu begegnen wurden die folgenden Maßnahmen getroffen: Wechsel der Druckerei mit stärkerer Konzentration in der Druckvorbereitung; moderneres Layout; GH-online als Ergänzung des Printmediums; Stammplätze verbunden mit Sonderleistungen. Außer diesen „positiven“ Maßnahmen wurden wiederholt auch die Abo-Preise angepasst, um die gewohnte Qualität sicherzustellen. Die Tatsache, dass eine Zeitschrift schon vor Drucklegung im Internet erscheint, wird als eine Chance im digitalen Zeitalter erkannt. Sowohl die ständige Verfügbarkeit der Ausgaben von GH als Download auf Computer, Tablet oder Smartphone wie auch die direkte Verlinkung der Anzeigen und Webadressen mit den entsprechenden Internetseiten machen die online-Ausgabe einer Fachzeitschrift zu einer willkommenen Ergänzung der Printausgabe. Seit 2015 sind alle Ausgaben GH im Internet mit Passwort zugänglich. Eine Retro-Digitalisierung der früheren Ausgaben musste aus Kostengründen entfallen. Eine digitale Version der Druckvorlage macht aus einem „langsamen“ Medium, wie es eine Quartalszeitschrift darstellt, noch kein „schnelles“ Medium. Ein Netzwerken zwischen den Erscheinungsterminen kann Informationen schneller und breiter transportieren. Dazu bieten sich die Netzwerke Facebook, Linkedin oder Instagram an. Mit welchen Medien und wie oft das Netzwerken realisiert werden kann, bleibt zu prüfen. Auch ein stärkeres Vernetzen mit Plattformen wie Glasspool, sculptur network, ländereigene Glasvereinigungen u.a. käme in Betracht. In diesem Sinne kann Digitalisierung zu einem Synonym für Austausch werden. Ob dadurch GH wieder zu einem Erfolgsmodell wird, ist langfristig eher nicht zu erwarten. Kurz- und mittelfristig aber macht es durchaus Sinn.

 

Printed media in the digital age. The studio-glass magazine GLASSHOUSE.

 

 

Traditional printed media face an exceptional challenge in the digital age. For a specialist magazine like GLASHAUS, it opens up opportunities as well as being a source of problems. Participation in the digital world can vary to a great degree on an individual, subjective basis, but the Lehman Brothers crash in 2008, caused by digital manipulation in the financial market, marks a watershed which affected everyone all over the world. From this point on, austerity has been the order of the day. The year 2008 is seen to mark the beginning of the so-called digital age. It also marks the turning point in the history of GLASHAUS, which had enjoyed steadily growing readership over the course of 10 years (since 1999). Since 2008, there has been a decrease in subscriptions and advertisers. The following measures were taken to curb the financial decline: the printing firm was changed with more focus on the pre-printing phase; GH-online was launched to compliment the printed medium; regular slots combined with special services. Alongside these improvements, the subscription price had to increase repeatedly to be able to maintain high standards. The fact that a magazine is already present in the internet before going to press, is recognized as being a valuable opportunity in the digital age. Availability of GH issues to download on computers, tablets or smartphones as well as the direct links between adverts and web addresses with the internet pages make the online version a welcome compliment to the printed one. Internet access to the current issue as well as previous issues of GH has been possible with a password since 2015. Digitalising pre-2015 issues was not possible for financial reasons. A digital version of a ‚slow‘ medium such as a quarterly magazine does not transform it into a ‚speedy‘ one, however. Networking in the period between publication dates can spread information faster and further. Facebook, LinkedIn or Instagram are the most suitable means of doing this. Which media are most appropriate and how often the networking can be realised is still to be looked into. Increased networking within platforms such as glasspool, sculpture network, and glass societies in different countries, could be considered, for example. Digitalisation could become a synonym for communication and exchange, but in the long-term, it is not to be expected that this will lead GLASHAUS to its former level of success. It does make sense in the short and middle-term, however.

 

Kurzreferat Deutsche Glastechnische Gesellschaft, Rheinbach 22.9.2018, W. Schmölders

 

 

Louise Lang

Ausstellung "Böhmischer Wind" im Heimatmuseum, 83727 Schliersee, Lautererstr. 8

Di - Fr: 14-17 Uhr

 

Hauberg Fellowship

RESIDENCY DATES: MAY 21 - JUNE 19, 2019
Named for Pilchuck co-founder John H. Hauberg (1916–2002)—philanthropist, art collector, and important patron of artists—the fellowship was established to encourage collaboration among a group of outstanding artists.
Groups of up to six members are invited to submit an application to utilize the Pilchuck studios and campus environment during the month-long residency for research and development of artwork based on a common theme or a collaborative project. 
For questions, contact the Pilchuck Registrar at registrar@pilchuck.com.
APPLY BY THURSDAY, NOVEMBER 15 FOR THE JOHN H. HAUBERG FELLOWSHIP

Masters of Transparence

Atelier d’art du verre en collaboration avec l’association Amicale Charly avons le plaisir de vous inviter à l’ouverture de l’Exposition russe d'art de verre contemporain «MASTERS OF TRANSPARENCE » au Charly’s Gare à Hostert (Niederanven). Alexander Fokin, Taisiya Fokina, Anton Fokin, Anatoliy Pelipenko, Irina Pelipenko Fidail Ibragimov, Ovik Manukyan, Olga Oswald - Shorohova, Anna Afinogentova. L'Atelier d'Art du Verre invite à l'exposition au Luxembourg des artistes verriers russes qui ont participé au Symposium international du verre à Nikolsk, en Russie, l'année dernière. Cet événement aura lieu le Vendredi 21 septembre 2018 à 18h00 à : Ancienne Gare de Hostert, rue de la gare, Hostert (Niederanven), Luxembourg.

 http://rail.lu/garehostertniederanven.html

http://www.gfn.lu/der-ehemalige-bahnhof-charlys-gare-2/?lang=fr

 

Crystal Valley

Dear international friend of glass
We need your help! Please direct our personal letter of recommendation to: Mr. Hejtman Martin Puta of the Liberec Region and to the so patriotic architect of the “Eliaska Museum Project” in Kamenicky Senov, Mag Tereza Svachova”: 'Tereza Šváchová' <svachovatereza@gmail.com>; martin.puta martin.puta@kraj-lbc.cz  This is urgent!
With outstanding efforts, the Liberec Council under Hejtman Martin Puta, together with Mag. Tereza Svachova and regional personalities has been successfully building the idea of bringing a truly European project “CRYSTAL  VALLEY” into practice.
The North Bohemian Glass Region is internationally seen as the  l a s t   s t I l   c o m p l e t e  g l a s s r e g I o n   I n   t h e   w o r l d.CRYSTAL VALLEY is, with your help, to become a widely known area between Kamenicky Senov (Steinschönau) in the west, with Novy Bor (Haida), Liberec (Reichenberg), with Jablonec (Gablonz) and Zelezny Brod (Eisenbrod), right up to Harrachov (Harrachsdorf) in the far west of North Bohemia.
The western pillar will be the new chandelier-museum in Kamenicky Senov, following the concept of the European Society LIGHT & GLASS and planned in detail by Mag. Tereza Svachova in the historic Elias Palme chandelier factory building of 1905.
European glass experts must feel responsible to make the Region become a well visited sequence of high level  touristic spots in the heart of Europe. The Czech officials badly need at this moment your written support to bring the project to higher national and international levels.
Please write a short letter of high appreciation of the Czech efforts in this matter and send it to the e-mail addresses of Mr. Martin Puta and to Tereza Svachova. With this, your last input, the project has all chances to become true for us all! With glass greetings 
Peter Rath

Gift of Lalique Glas

Tacoma, Wash. — Museum of Glass is pleased to announce a promised gift from Steven and Roslyn Shulman of Long Beach, California.  The collection, which contains nearly 700 pieces of glass by René Lalique, represents the work of one of the most successful glassmakers of the twentieth century. From the late 1800s to the mid-1900s, Lalique’s work has been universally hailed as representing the most chic and sophisticated qualities of French Art Nouveau and Art Deco styles. All of Lalique glass – bowls and vases, scent bottles, car hood ornaments, clocks and jewelry, sculptural and architectural decoration of every kind – were designed to the highest of artistic standards. When René Lalique passed in 1945, he was viewed by many as one of the greatest figures in the history of decorative art. 

 

The Shulmans have been very selective in building their collection, which started in 1983. Their goal was to represent select series that René Lalique designed during his acclaimed body of work. “Roslyn and I were looking for a shared hobby. We researched artists and were extremely impressed with the work of René Lalique. Once we found an antiques dealer who shared our passion, our path was formed. We made many trips to London and Paris over the years to find just the right pieces to add to our portfolio,” states Steven. “We may still add a few pieces, but we are thrilled to have connected with Museum of Glass so that our entire collection can be shared with so many.”
“This promised gift supports the Museum’s collecting goals of acquiring significant works that represent developments in glass,” said Lenk. “It is a perfect complement to the more than 200 Art Deco pieces promised to the Museum by collector, David Huchthausen, late last year. Together, these two collections offer a significant concentration and provide for deeper understanding of the antecedents to the Studio Glass movement. Located in Tacoma, at the heart of this movement, Museum of Glass plays a critical role in documenting and celebrating the history of glass art.” (bis Februar 2018)

Glasmuseum Immenhausen

In einer zusammenfassenden Stellungnahme kommt GLASHAUS zu dem Ergebnis, dass in der Vergangenheit wohl einiges versäumt wurde, um den Bestand des Glasmuseums Immenhausen zu sichern. Im Vergleich mit anderen Glasmuseen zeigt sich, dass eine intensivere Öffentlichkeitsarbeit zur Bereitstellung der finanziellen Mittel nötig wäre. Siehe "Glasmuseum Immenhausen in der Zwickmühle" in: GLASHAUS 4/2017, Seite 32. Siehe auch Glosse zum Immenhäuser Glaspreis in GLASHAUS 1/2018, Seite 34.

 Ihre Rückmeldungen zum Thema sind jederzeit willkommen: glashaus-verlag@t-online.de