newMedia(now&&then)
Tuesday, February 01, 2005
newMedia.bak for FEB 2005
this month both the empyre + CRUMB listservs are hosting [conversations on/discussions of] [new media/digital] arts in relation to preserving, archiving, databasing, curating, collecting, disseminating, etc...
here are the links:
//CRUMB uri
CRUMB web resource for new media art curators
http://www.crumbweb.org
//empyre uri
empyre forum
empyre AT lists.cofa.unsw.edu.au
http://www.subtle.net/empyre
++ the nfo on both lists FEB 2005 topics:
//CRUMB nfo
February Theme of the Month: Conserving New Media Art
The issues for conserving new media art have begun to be thoroughly address by projects and publications* including the Variable Media Project, and V2's Capturing Unstable Media. What is the current state of the art of conserving new media, and how is it dealing with newer
technologies such as mobile or locative media?
* Depocas, Alain, and Jon Ippolito, Caitlin Jones (eds.) (2003) Permanence Through Change: The Variable Media Approach. New York: Guggenheim Museum. Also available from URL:
http://www.variablemedia.net/e/preserving/html/var_pub_index.html
Invited Respondents:
Alain Depocas is Director of the Centre for Research and Documentation (CR+D) of The Daniel Langlois Foundation. In this capacity, he is in charge of a documentary collection covering the history, works and practices associated with the media, electronic and digital arts.
http://www.fondation-langlois.org
http://www.horizonzero.ca/textsite/ghost.php?tlang=0&is=18&file=7
Sandra Fauconnier works as a media archivist for V2_ in Rotterdam (NL). Her research interests include metadata and ontologies for media art, copyright, social software, and capturing and preserving electronic art.
http://archive.v2.nl/
http://www.v2.nl/Projects/capturing/
Tina Fiske, History of Art Department, University of Glasgow.
Oliver Grau, Database of Virtual Art, Humboldt University, Berlin.
Francis Hwang is a writer, artist, and software engineer. Since 2002, he has been Director of Technology at Rhizome.org.
Caitlin Jones holds a combined research position in both the Curatorial and Conservation departments at the Solomon R. Guggenheim Museum. With a background in Art History and Archival Studies she originally worked in conjunction with the Daniel Langlois Foundation for Art, Science, and Technology as the Langlois Fellow for Variable Media Preservation.
Pip Laurenson, researcher.
Kevin McGarry is Content Coordinator of Rhizome.org, a writer and artist living in New York.
Peter Ride, CARTE Centre for Arts Research Technology and Education, University of Westminster.
Richard Rinehart is an artist, Director of Digital Media at the Berkeley Art Museum/Pacific Film Archive, and coordinates the NEA-funded "Archiving the Avant-Garde: Preserving Digital / Media Art"
http://www.bampfa.berkeley.edu/ciao/avant_garde.html
Jill Sterrett, Director of Collections and Conservation, San Francisco Museum of Modern Art. Collaborated recently with Tate, MoMA, and the New Art Trust to create a preservation tool for the care of time-based media
http://www.tate.org.uk/research/tateresearch/majorprojects/mediamatters
Keith Whittle is Online Projects/Media Co-ordinator at Film and Video Umbrella, a leading agency for the commissioning and production of artists' film and video and new media work. In April 2005 he will take up a Research Fellowship post at the University of Sunderland.
Alena Williams is a Ph.D. Candidate in the Department of Art History and Archaeology at Columbia University. From 2001-2003, she was the ArtBase Coordinator at Rhizome.org.
-------------------------------------------------------------------
Beryl Graham, Senior Research Fellow, New Media Art
School of Arts, Design, Media and Culture, University of Sunderland
Tel: +44 191 515 2896 beryl.graham AT sunderland.ac.uk
CRUMB web resource for new media art curators
http://www.crumbweb.org
//empyre nfo:
To save or not to save?
This is a perennial question when faced with a massive expanse of online data and limited resources with which to do it. The preservation of contemporary media art works presents an enormous challenge to collectors and museums, most of whom are still attempting to fit these diverse practices into their rationales and exhibition strategies. Unfortunately in the art world acquisition and conservation measures are only happening in small pockets, despite the plethora of entertaining, challenging and innovative online works produced over the past decade.
However there is hope. Some of the leaders in preservation of internet art are not in fact art institutions, but libraries and internet archival projects, for whom collection, archiving and preservation is a routine matter. As more of their collections become digital, they have been actively addressing issues like storage, migration and emulation.
This month we welcome our panel of International experts from the archival field:
---> Margaret Phillips, Paul Koerbin and Gerard Clifton from the PANDORA internet archive and PADI gateway at the National Library of Australia;
---> Nancy McGovern, Digital Preservation Officer at Cornell University Library;
---> Michele Kimpton of the Internet Archive with its consultant sage the WayBack Machine;
---> Sharmin (Tinni) Choudhury, the software engineer for PANIC digital preservation project;
---> Meta data standards expert Dr Simon Pockley from Flight of Ducks and Deakin University; and
---> Luciana Duranti (UBC), Yvette Hackett and Jim Suderman from InterPARES
2, Canada.
We will also be joined by those concerned specifically with net art:
---> New York-based artist and writer Kevin McGarry who manages Rhizome Artbase - the worlds largest collection of networked media containing over 1400 net.art works;
---> and artist Graham Crawford, who curated two of Australia's earliest net art shows, Tool1 and Tool 2.0b in 1995 and 1996, which are no longer online.
Please enjoy and feel free to jump into this discussion on the tenuousness and a tenacity of networked histories and records, the critical distinction between object and events based archiving and what happens to an archive when funding disappears?
___________archival project urls:
Internet Archive and WayBack Machine: http://www.archive.org/
InterPARES 2 (IP2)- International Research on Permanent Authentic Records in Electronic Systems: http://www.interpares.org/welcome.cfm
Preserving Access to Digital Information (PADI): http://www.nla.gov.au/padi/
PANDORA Australia's Web Archive: http://pandora.nla.gov.au/.
PANIC - Preservation webservices Architecture for Newmedia and Interactive Collections: http://www.metadata.net/panic/
Virtual Remote Control (VRC) at Cornell University:
http://irisresearch.library.cornell.edu/VRC/index.html
________ online art urls:
Flight of Ducks - a personal preservation project
http://www.duckdigital.net/FOD/FOD0292.html
Rhizome ArtBase: http://rhizome.org/art
Tool1 and Tool 2.0b are no longer online, however we are attempting to reconstruct them before the end of the month.
Dr Melinda Rackham
artist | curator | producer
www.subtle.net/empyre
-empyre- media forum
_______________________________________________
empyre forum
empyre AT lists.cofa.unsw.edu.au
http://www.subtle.net/empyre
here are the links:
//CRUMB uri
CRUMB web resource for new media art curators
http://www.crumbweb.org
//empyre uri
empyre forum
empyre AT lists.cofa.unsw.edu.au
http://www.subtle.net/empyre
++ the nfo on both lists FEB 2005 topics:
//CRUMB nfo
February Theme of the Month: Conserving New Media Art
The issues for conserving new media art have begun to be thoroughly address by projects and publications* including the Variable Media Project, and V2's Capturing Unstable Media. What is the current state of the art of conserving new media, and how is it dealing with newer
technologies such as mobile or locative media?
* Depocas, Alain, and Jon Ippolito, Caitlin Jones (eds.) (2003) Permanence Through Change: The Variable Media Approach. New York: Guggenheim Museum. Also available from URL:
http://www.variablemedia.net/e/preserving/html/var_pub_index.html
Invited Respondents:
Alain Depocas is Director of the Centre for Research and Documentation (CR+D) of The Daniel Langlois Foundation. In this capacity, he is in charge of a documentary collection covering the history, works and practices associated with the media, electronic and digital arts.
http://www.fondation-langlois.org
http://www.horizonzero.ca/textsite/ghost.php?tlang=0&is=18&file=7
Sandra Fauconnier works as a media archivist for V2_ in Rotterdam (NL). Her research interests include metadata and ontologies for media art, copyright, social software, and capturing and preserving electronic art.
http://archive.v2.nl/
http://www.v2.nl/Projects/capturing/
Tina Fiske, History of Art Department, University of Glasgow.
Oliver Grau, Database of Virtual Art, Humboldt University, Berlin.
Francis Hwang is a writer, artist, and software engineer. Since 2002, he has been Director of Technology at Rhizome.org.
Caitlin Jones holds a combined research position in both the Curatorial and Conservation departments at the Solomon R. Guggenheim Museum. With a background in Art History and Archival Studies she originally worked in conjunction with the Daniel Langlois Foundation for Art, Science, and Technology as the Langlois Fellow for Variable Media Preservation.
Pip Laurenson, researcher.
Kevin McGarry is Content Coordinator of Rhizome.org, a writer and artist living in New York.
Peter Ride, CARTE Centre for Arts Research Technology and Education, University of Westminster.
Richard Rinehart is an artist, Director of Digital Media at the Berkeley Art Museum/Pacific Film Archive, and coordinates the NEA-funded "Archiving the Avant-Garde: Preserving Digital / Media Art"
http://www.bampfa.berkeley.edu/ciao/avant_garde.html
Jill Sterrett, Director of Collections and Conservation, San Francisco Museum of Modern Art. Collaborated recently with Tate, MoMA, and the New Art Trust to create a preservation tool for the care of time-based media
http://www.tate.org.uk/research/tateresearch/majorprojects/mediamatters
Keith Whittle is Online Projects/Media Co-ordinator at Film and Video Umbrella, a leading agency for the commissioning and production of artists' film and video and new media work. In April 2005 he will take up a Research Fellowship post at the University of Sunderland.
Alena Williams is a Ph.D. Candidate in the Department of Art History and Archaeology at Columbia University. From 2001-2003, she was the ArtBase Coordinator at Rhizome.org.
-------------------------------------------------------------------
Beryl Graham, Senior Research Fellow, New Media Art
School of Arts, Design, Media and Culture, University of Sunderland
Tel: +44 191 515 2896 beryl.graham AT sunderland.ac.uk
CRUMB web resource for new media art curators
http://www.crumbweb.org
//empyre nfo:
To save or not to save?
This is a perennial question when faced with a massive expanse of online data and limited resources with which to do it. The preservation of contemporary media art works presents an enormous challenge to collectors and museums, most of whom are still attempting to fit these diverse practices into their rationales and exhibition strategies. Unfortunately in the art world acquisition and conservation measures are only happening in small pockets, despite the plethora of entertaining, challenging and innovative online works produced over the past decade.
However there is hope. Some of the leaders in preservation of internet art are not in fact art institutions, but libraries and internet archival projects, for whom collection, archiving and preservation is a routine matter. As more of their collections become digital, they have been actively addressing issues like storage, migration and emulation.
This month we welcome our panel of International experts from the archival field:
---> Margaret Phillips, Paul Koerbin and Gerard Clifton from the PANDORA internet archive and PADI gateway at the National Library of Australia;
---> Nancy McGovern, Digital Preservation Officer at Cornell University Library;
---> Michele Kimpton of the Internet Archive with its consultant sage the WayBack Machine;
---> Sharmin (Tinni) Choudhury, the software engineer for PANIC digital preservation project;
---> Meta data standards expert Dr Simon Pockley from Flight of Ducks and Deakin University; and
---> Luciana Duranti (UBC), Yvette Hackett and Jim Suderman from InterPARES
2, Canada.
We will also be joined by those concerned specifically with net art:
---> New York-based artist and writer Kevin McGarry who manages Rhizome Artbase - the worlds largest collection of networked media containing over 1400 net.art works;
---> and artist Graham Crawford, who curated two of Australia's earliest net art shows, Tool1 and Tool 2.0b in 1995 and 1996, which are no longer online.
Please enjoy and feel free to jump into this discussion on the tenuousness and a tenacity of networked histories and records, the critical distinction between object and events based archiving and what happens to an archive when funding disappears?
___________archival project urls:
Internet Archive and WayBack Machine: http://www.archive.org/
InterPARES 2 (IP2)- International Research on Permanent Authentic Records in Electronic Systems: http://www.interpares.org/welcome.cfm
Preserving Access to Digital Information (PADI): http://www.nla.gov.au/padi/
PANDORA Australia's Web Archive: http://pandora.nla.gov.au/.
PANIC - Preservation webservices Architecture for Newmedia and Interactive Collections: http://www.metadata.net/panic/
Virtual Remote Control (VRC) at Cornell University:
http://irisresearch.library.cornell.edu/VRC/index.html
________ online art urls:
Flight of Ducks - a personal preservation project
http://www.duckdigital.net/FOD/FOD0292.html
Rhizome ArtBase: http://rhizome.org/art
Tool1 and Tool 2.0b are no longer online, however we are attempting to reconstruct them before the end of the month.
Dr Melinda Rackham
artist | curator | producer
www.subtle.net/empyre
-empyre- media forum
_______________________________________________
empyre forum
empyre AT lists.cofa.unsw.edu.au
http://www.subtle.net/empyre
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