22,889 research outputs found
Preserving today for tomorrow: A case study of an archive of Interactive Music Installations
This work presents the problems addressed
and the first results obtained by a project aimed at
the preservation of Interactive Music Installations (IMI).
Preservation requires that besides all the necessary components
for the (re)production of a performance, also the
knowledge about these components is kept, so that the
original process can be repeated at any given time. This
work proposes a multilevel approach for the preservation
of IMI. As case studies, the Pinocchio Square (installed in
EXPO 2002) and the Il Caos delle Sfere are considered
Rethinking authenticity in digital art preservation
In this paper I am discussing the repositioning of traditional
conservation concepts of historicity, authenticity and versioning
in relation to born digital artworks, upon findings from my
research on preservation of computer-based artifacts. Challenges
for digital art preservation and previous work in this area are
described, followed by an analysis of digital art as a process of
components interaction, as performance and in terms of
instantiations. The concept of dynamic authenticity is proposed,
and it is argued that our approach to digital artworks preservation
should be variable and digital object responsive, with a level of
variability tolerance to match digital art intrinsic variability and
dynamic authenticity
Interactive digital art
In this paper, we present DNArt in general, our work in DNArt’s lab including a detailed presentation of the first artwork that has come out of our lab in September 2011, entitled “ENCOUNTERS #3”, and the use of DNArt for digital art conservation. Research into the use of DNArt for digital art conservation is currently conducted by the Netherlands Institute for Media art (Nederlands Instituut voor Mediakunst, NIMk). The paper describes this research and presents preliminary results. At the end, it will offer the reader the possibility to participate in DNArt’s development
Experimental and Creative Approaches to Collecting and Distributing New Media Art within Regional Arts Organisations
This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance
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