Digital art through the looking glass New strategies for archiving, collecting and preserving in digital humanities

Description

Cover170x240 FINAL_betapublication_PDF Impressum_final TableofContents_v6_20191408 FINAL_Introduction_c Ch1_FINAL Early New Media Art. The search for originality in technological art and its challenges for preservation Georg Nees & Harold Cohen: Re:tracing the origins of digital media Keywords Media, digital Georg Nees Harold Cohen Nees, Cohen, media The medium was the message Acknowledgement References George Legrady Abstract Keywords From analog to digital Transitioning to digital: Truevision Targa System (1986) Early projects (1987-1991) Conclusion References Introduction The 1960s is a unique period, not only in its political, social or economic significance, but as the decade when Media Art emerged. It was the year 1968 when social protests began to spread out at US universities’ campuses through youth and feminist m... In that period and in that historical context, two automatic technologies of the image reached the market: the Personal Computer and Portapack video camera. In light of the 1960s countercultural movements, a group of pioneering and experimental artist... In the United States, pioneering artist Sonia Landy Sheridan got involved in the creation of posters for the democratic convention together with her students and discovered the photocopy machine as the perfect tool for the creation and distribution of... [...] In the early sixties, artists began to work with copy machines, whether located in offices or installed in public places. For these artists, copiers were truly ‘found media’, personal discoveries uncovered in setting not previously recognized as... N'ima Leveton, an engraver from San Francisco, produced her first series of prints on a coin machine she found in a neighbourhood supermarket. In 1964, Barbara Smith rented a Xerox 914 photocopy machine that was installed in her dining room; it was us... Although digital technologies were established in the 1980s, these analogue and electronic tools answered to new creative needs which reflected some of the changes that were taking place in economic, social and political fields and predicted many of M... Of these experimental techniques, especially those practices relating to the computer and the photocopy machine have been kept in different places, establishing their own spaces for exhibitions, workshops and even archives or collections. Following th... Although most researchers have spent a substantial amount of time using and fixing copy machines at some point in their career, few have considered the machine´s epistemological, aesthetic, political, and social impacts in their research. (2016: 8) In the case of the photocopy machine as an originally electric and later digital technology, it had a number of technical and functional features as well as restrictions that made it unique for creative use by becoming its graphic language. But one of... When the photocopy machine made art Historical milestones in the context of media art Conclusion Acknowledgments References Abstract Keywords Introduction “anarchive” Why does it take so long to produce each project? Obsolescence and updating Augmented books Ch2_FINAL Introduction (by Wendy Coones and Oliver Grau) Panelist introduction Panelist statements Panel discussion Audience question & answer Ch3_FINAL Keywords Dear colleague, Before Making While Making After Making Dealing with a Collector Final Notes Version 0.9.1 References Abstract Keywords A tension between light and dark, or heavy and light Circulation Networked co-archiving Embracing unpredictability and the indeterminate References Abstract Keywords Digital art as original The problem of preservation in archive theory Historicizing digital art Originality: Artistic intention as archival source Alternative methods of storage, access and (re-)usability Conclusion References Ch4_FINAL2 Abstract Keywords Research context and literature Videosonata: A case study from REWINDItalia Doppelgänger Redux: Re-enacting an early video performance under the eyes of an audience. Conclusion References This case study was developed without the help of any public or private institution, collection or program, as part of the personal research of the author in the technical conservation of digital artworks. The artist David Rokeby, who kindly helped du... Description of the artwork Methodology Visual Generator It has a high aesthetic impact (visual representation of the artwork) Original images are available and can be used. Semantic Generator Re-creation process  Regarding the logical level, following implementation was chosen: References Brandi, C. 2008. Teoría de la Restauración. Madrid: Alianza Editorial. Image references Unless otherwise stated, copyright of all images is owned by the author of this article. Ch5_FINAL Redesigning Rare Japanese Books in the Digital Age: Design of the Narrative Book Collection This paper introduces Narrative Book Collection—a unique model of digital exhibition for pre-modern Japanese books that explores computational and visualization approaches to create a new book reading experience in the digital age. Narrative Book Coll... The transformation of books Introducing the Narrative Book Collection Research outline Foundations Books as cultural artifacts Digitization of rare japanese books The concept of close reading and distant reading 1. 2. Story, storytelling and narrative Setting the stage to FutureLearn Design of the Narrative Book Collection Overview Pilot research on FutureLearn Learner attributes Developing the course Conducting the course Analyzing the course 1.2 2.2 2.2 Qualitative approach Results and findings Design goals Design process of the Narrative Book Collection Initial design Results and findings Summary Refined design Design Process (a) Story formation (b) Data generation Since the 1st course run, 105 titles—264 digitized images—were accessible in high-resolution images and 95 titles were available on the prototype. However, many of the digitized books did not contain enough bibliographic records and not all books were... (c) Story-driven data analysis Figure 3.4. Main features in the first and second iteration. (d) Narrative visualization Bookshelf View Book View Implementing the Narrative Book Collection Expected pathways Proof of concept Research setting Learner attributes Table 4.1: Learner Attributes (4th course run) Evaluation—Quantitative approach Access to Bookshelf View Access to Book View Encouraged to re-join the course Evaluation—Qualitative approach Results and findings Concept proof Summary Conclusions Discussion Contribution References Keywords Abstract Keywords Introduction Context, Tate and the collection The artworks The artwork’s lifecycle in the museum Preservation and preservation strategies Defining significant properties and risks Analysis Storage Intervention—Migration, emulation and anything else that helps Documentation Developing best practices References Image References SB_combined_CHECK_a