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How Do We Conserve and Restore Computer-Based Art in a Changing Technological Environment?
A team led by [NYU Courant prof Deena] Engel and Joanna Phillips, former senior conservator of time-based media at the Guggenheim Museum, and including conservation fellow Jonathan Farbowitz and Lena Stringari, deputy director and chief conservator at the Guggenheim Museum, explore and implement both technical and theoretical approaches to the treatment and restoration of software-based art.

In doing so, they not only strive to maintain the functionality and appeal of the original works, but also follow the ethical principles that guide conservation of traditional artwork, such as sculptures and paintings. Specifically, Engel and Phillips adhere to the American Institute for Conservation of Historic and Artistic Works’ Code of Ethics, Guidelines for Practice, and Commentaries, applying these standards to artistic creations that rely on software as a medium.

“For example, if we migrate a work of software-based art from an obsolete programming environment to a current one, our selection and programming decisions in the new programming language and environment are informed in part by evaluating the artistic goals of the medium first used,” explains Engel. “We strive to maintain respect for the artist's coding style and approach in our restoration.”

So far, Phillips and Engel have completed two restorations of on-line artworks at the museum: Cheang’s Brandon (restored in 2016-2017) and Simon’s Unfolding Object (restored in 2018)....

The CCBA team, in dialogue with the artist, analyzed and documented the artwork’s original source code and aesthetic and functional behaviors before identifying a treatment strategy. The team determined that a migration from the obsolete Java applet code to the contemporary programming language JavaScript was necessary. In place of a complete rewriting of the code, a treatment that art conservators would deem invasive, the CCBA team developed a new migration strategy more in line with contemporary conservation ethics, “code resituation,” which preserves as much of the original source code as possible.
Javascript  Java  variablemedia  @g  museum  digitalcuration  art  migration  preservation  +++++ 
8 days ago by jonippolito
Wikidata as a digital preservation knowledgebase - Open Preservation Foundation
This is a relatively long post, so to summarise before delving into the details: We’re exploring Wikidata, the (relatively new) Wikipedia for data, as a knowledge base for digital preservation information and would appreciate feedback and involvement. via Pocket
data  preservation  wiki 
9 days ago by kintopp
Symposium—Conserving Active Matter: Materials Science - Bard Graduate Center
When one examines a painted surface, whether a New Kingdom Egyptian sarcophagus or a John Singer Sargent portrait, it appears as though the paint is dry, and is therefore no longer interacting with itself or its environment. Nothing could be further from the truth. Paint is constantly active, responding to its surroundings and reacting with (for example) the water, light, and oxygen in its local environment. This can result in fading, darkening, or any number of other visual and physical phenomena including chalking and spalling. Other works of cultural heritage are similarly restive, from medieval stained glasses to modern and contemporary works prepared from a diversity of alloys and plastics. Objects that appear stable (such as a bronze with a green patina) can be rapidly reduced to dust in the wrong environment. More than one type of museum object (such as ancient Egyptian faience and cellulose nitrate film) have been known to degrade via explosion, and in the latter example to also “infect” their neighboring objects through the production of volatile corrosive gases. While one can easily identify a “dirty dozen” of artists’ pigments that are among the most active (such as Vincent Van Gogh’s infamous geranium lake red), the constant innovations of artists, chemists, and materials scientists means that there is a ready supply of challenging new objects and systems for art conservators and cultural heritage scientists to study and preserve. The input of art historians, historians, anthropologists, and archaeologists in this type of object-oriented study is critical to understanding the interpretation challenges represented by these altered works. Join us for two days of discussion about object change, from the molecular to the catastrophic to the magnificent, and learn about the surprising afterlives of works of art that are made from continuously evolving materials.
preservation  materiality  decay 
10 days ago by shannon_mattern
(429) https://twitter.com/i/web/status/1102661666037252097
🙏HUGE THANKS🙏 to ALL our attendees/speakers for EP 2 "Beginning the Workflow" w/…
Software  Preservation  from twitter_favs
15 days ago by verwinv
Caring for Your Treasures
Proper care and maintenance of your family heirlooms and works of art ensures that they are available for future generations to enjoy. We offer guides to help you care for your treasures.
art  preservation  conservation  archiving  books  photography 
16 days ago by DaleStrumpell

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