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Subject:

New media arts & digital preservation

From:

Eileen Maitland <[log in to unmask]>

Reply-To:

Eileen Maitland <[log in to unmask]>

Date:

Tue, 20 May 2003 17:08:59 +0100

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (61 lines)

Apologies for cross-posting
----------------------------
I'm currently looking at questions surrounding works of art involving new
media technologies, and temporally-defined creative enterprises e.g. in the
performance art arena. I'm particularly interested in approaches towards
ensuring the preservation & long term viability of such works and issues
raised by elements which characterise & distinguish them (and consequently
their curation & conservation) from more traditional creative arts. A number
of observations and questions have emerged in the course of research
undertaken hitherto on this subject, which I've listed here as part of an
attempt to stimulate feedback from the digital/conceptual/performance art
community at large. My perspective is more that of digital conservator than
of artist or curator, and my argument is that it is the application of
practices more commonly found in the work of digital librarians and
information specialists that offer the best solutions to artists, curators
and others whose central concern is with the types of contemporary art
described above. The Variable Media Initiative at the Guggenheim Museum has
been a useful starting point; I would very much like to hear about similar
or related projects going on elsewhere, and issues that have been raised in
the course of them. In addition, any comments list members would like to
offer in response to the following broad observations will be very
gratefully received:

* Existing boundaries between artistic disciplines which have hitherto been
distinct have been eroded by the conceptual & material complexities of new
hybrid forms

* Documentation of such works plays a crucial role in ensuring their
viability in the long-term, and in addressing questions of authenticity when
restaging/re-installation is planned

* The increased use of information technology as a central part of the
creative process (often as the focus of the work created) has led to a
higher degree of interactivity and practical engagement on the part of the
viewer/audience, which has led in turn to a fundamental change in the
artist's role and our understanding of the notion of "artistic integrity"

* There exists a tension (which is exacerbated within the new forms focused
on here) between notions of permanence in art/its place in our cultural
heritage and the idea of some pieces being entirely transient and ephemeral,
with no existence or future beyond the temporal or spatial boundaries within
which they occur

* The question of process is often as much an integral part of the work
itself as any material manifestation and is as central a focus for any party
addressing the conservation/documentation of that work as any physical
elements are

My thanks in advance for any comments/suggestions/related information list
members might care to offer.
These should be addressed to me directly at [log in to unmask]
rather than to the list, though I'll be glad to post a summary of findings
to the
list when I have a critical mass of replies.

Eileen Maitland
Collections Description Officer
Performing Arts Data Service
Department of Theatre, Film & Television Studies
University of Glasgow

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