DOCAM 2010
Résumés / AbstractsThursday March 4, 2010
Session 1
Historique des technologies et ressources pédagogiques
/ History of technologies and pedagogical resources
Modérateur / Chair : Alain
Depocas (CR+D, Daniel Langlois Foundation)
This panel will
deal with the role of technological history in the teaching of art history.
Panelists will answer a number of questions: How important is a specifically
technical knowledge to an understanding of art history? What kind of resources
are needed to effectively communicate, to students, the relationship between
the history of technologies and the history of artworks? What pedagogical strategies
have proved most successful for imparting an understanding of technological
history to students of art history? What lessons may we take from DOCAM’s efforts
in this direction? Is the DOCAM Technological Timeline a possible resource
for teachers of art?
Custom Machines and Conservation
Studies
Mona Jimenez (Moving
Image Archiving and Preservation, New York University)
When
developing strategies for the preservation of media art works,
students must understand and incorporate artists’ working methods, including
the technologies employed. Learning about custom-made devices designed
by artists and engineers, such as video synthesizers used to make 1970s
video
art, can expand students’ understanding of theory, practice and context.
In addition, the study of technological devices allows students to draw
parallels between the care and preservation of machines used for creation
and those
necessary for exhibition. Teaching students how to keep machines “alive”
necessitates interdisciplinary research, within and outside of the field
of conservation.
Les enjeux des enseignements sur la documentation et la conservation des arts
médiatiques : bilan du séminaire DOCAM
Sylvie Lacerte (author,
researcher and independent curator, Montréal)
An instructor in the DOCAM Seminar at UQÀM (2007, Ph.D. in Art Theory and
Practices; 2009, Masters in Museology) and at McGill (2008, graduate and
post-graduate programs in the Art History and Communications Studies Department),
Sylvie Lacerte will present a summary of the interdisciplinary and interuniversity
body of teaching offered as a pilot project for four consecutive years
as part of the DOCAM research initiative. She will focus on the issues
and challenges of integrating the teaching of these subjects on a permanent
basis into graduate programs at Montreal universities (visual and media
arts, museology, library science/information science).
History of technologies in museum curatorial practice
Jean Gagnon (commissaire
indépendant / independent curator, Montréal)
How important is the knowledge and comprehension of technological evolution
and history for the museum curator? I intend to address this question as
there is a trend in museums for non medium-specific curating, especially
in contemporary art. The argument goes that “after modernism” we do not
need to segregate curatorial fields based on medium specificity. But the
question is not really about the modernist approach of medium specificity,
but one of accurate historical knowledge that take into account the materiality
and historicity of works of art. In the case of media arts, it may mean
that curators need to be specialists of the field of practices involved
with technologies. I want also to address a concomitant problem, which
is the language and the terminology used to talk about these works, their
materiality, their technologies and so on.
Session 2
Le Guide de catalogage des collections nouveaux médias de
DOCAM / The DOCAM Cataloguing Guide for New Media Collections
Anne-Marie Zeppetelli (Musée
d’art contemporain de Montréal)
Madeleine Lafaille (Réseau
canadien d’information sur le patrimoine (RCIP))
Cindy Veilleux (DOCAM)
Répondante / Respondent : Sandra
Fauconnier (Netherlands Media Art Institute (NIMk), Amsterdam)
This presentation summarizes the research conducted by the DOCAM Research
Alliance Cataloguing and Structure Committee, with particular emphasis on the
results achieved. The content and functioning of DOCAM’s Cataloguing Guide
for New Media Collections is also included.
Le Glossaurus de DOCAM / The DOCAM Glossaurus
James M. Turner (EBSI,
Université de Montréal)
Brigitte Kerhervé (Département
d’informatique, UQÀM)
Claire Nigay (DOCAM)
Corina MacDonald (DOCAM)
Ann Butler (Library and Archives at the Center for Curatorial Studies,
Bard College, Annandale-on-Hudson)
Répondante / Respondent : Sandra
Fauconnier (Netherlands Media Art Institute (NIMk), Amsterdam)
The work of the
Terminology Committee was to list and model relationships expressing the vocabulary
and ideas of DOCAM. The result is the Glossaurus. Building this tool to fit
the context involved choosing a way to model the structure, and choosing what
vocabulary, definitions, and terminological relationships to include. We decided
to use SKOS as a framework for modelling the structure, and this decision led
to much discussion and much work. Choices had to be constantly adjusted as
work progressed.This round table presents the tool we created, but deals especially
with the process and the lessons to be learned.
Session 3
The DOCAM Documentary
Model
Alain Depocas (CR+D,
Daniel Langlois Foundation)
Andrea Kuchembuck (DOCAM)
The DOCAM Documentary Model puts forth a framework for structuring the "Digital Documentation File" which gathers, organizes and makes accessible documentation produced by different
agents during the Life Cycle of a media artwork. The Model presents itself
as a visual interface that illustrates the relations between the documents,
their producers, the different stages of the artwork's Life Cycle as well as
its successive iterations and its components.
Towards a Simulative Philology
Vincenzo Lombardo (CIRMA,
Università di Torino, Virtual Reality & Multi Media Park, Turin)
The presentation addresses
the problem of documentation and accessibility of ephemeral artworks from a
simulative perspective. The simulative approach proposes a documentation based
upon a formalization of the control aspects and a concrete realization of the
aural and visual perception through a virtual reality based installation. The
artwork technology and the individual contents are recreated in virtual terms;
then, the time-based development of the artwork is accounted for by a control
score. We have applied the simulative approach to a paradigmatic case of a
complex multimedia artwork, Le Corbusier’s Poème électronique, the very first multimedia installation of the electronic era.
Metadata case study for the implementation of an open access
repository of self-archived media arts documentation
Felicity Tayler (Artexte,
Montréal)
Tomasz Neugebauer (Concordia
University, Montréal)
Artexte is investigating
the potential for an open access platform, such as Eprints, to provide a subject-specific
repository for a community of publishers in the visual and media arts, including
museums, artist-run centers, public galleries and independent researchers,
writers and artists. We present the case study of Artexte’s metadata requirements
within the context of an open access repository of self-archived media arts
documentation. We will focus on the use of Eprints as a development platform
supporting the academic open access model, in particular the potential for
the software to support artists’ self-archiving and web dissemination of secondary
literature pertaining to media arts (such as articles and exhibition catalogue
essays).
Session 4
Raconter l’archive autour d’une exposition
Sylvie Lacerte (author,
researcher and independent curator, Montréal)
Sylvie Lacerte will speak about the reflection process and steps that led her
to organize an exhibition of the archives of Vera Frenkel, which were the subject
of a case study during the DOCAM research project. As curator, Ms. Lacerte
will present an overview of the work methodology deployed during her research
at the Queen’s University Archives, where the Frenkel fonds are housed. She
will also emphasize the impact that working in close collaboration with Frenkel
has had on successfully preparing to exhibit the archives of this exceptional
artist, who stands as a new media pioneer in Canada and abroad.
Online documentary collections and resources for recorded
audience experience
Rolf Wolfensberger (Museum
of Communication in Berne)
The recently started
series of online documentary collections on the website of the Daniel Langlois
Foundation presents a growing number of case studies with an accent on interactive
and participative media art installations. The project is unique as it has
brought together research studies with a systemic approach and a focus on the
lived experience of the audience. Based on my contribution to the project (documentary
collection on Paul Sermon’s Telematic Vision) I will put up for discussion the structure and goals of the collections, remaining
methodological questions and future perspectives.
Taxonomies, documentary collections and replay archives: The
documentation and research of interactive artworks at the Ludwig Boltzmann
Institute Media.Art.Research.
Katja Kwastek (formerly
Ludwig Boltzmann Institute Media.Art.Research., Linz)
One focus of the
Ludwig Boltzmann Institute Media.Art.Research. was the research and documentation
of interactive artworks. Interactive art denotes a broad and controversial
spectrum of artistic concepts that have to be approached from a variety of
perspectives, to do justice to the importance of different possible manifestations
and experiences of the interaction process. The goal was to develop a differentiated
vocabulary for the description, comparison and analysis of interactive artworks
as well as to pursue exemplary case studies of individual works. This presentation
will discuss several approaches to the documentation and analysis of interactive
art, including a survey of the Ars Electronica holdings and case studies of
Tmemas 'Manual Input Station' and Blast Theory's 'Rider Spoke'.
Crowdsourcing Preservation: The Variable Media Questionnaire
3.0
Jon Ippolito (University
of Maine, Orono)
Gone are the days
when conservation meant manila folders and obscure academic journals. Rescuing
new media art from oblivion will require a large and connected community. This
approach is embodied in the third and latest version of the Variable Media
Questionnaire, unveiled for the first time at this conference. This Questionnaire
makes it easy to compare differing viewpoints on the same artwork, or similar
problems affecting different artworks. While anyone can access the VMQ as a
free Web service, its data can also appear alongside collection records of
separate institutions, thanks to a "Metaserver" that ties together dispersed databases.
Friday March 5, 2010
Session 5
DOCAM Best
Practice Guide : Some tools and principles specific to the preservation and
conservation of time-based media artworks
Richard Gagnier (Montreal
Museum of Fine Arts)
Alexandre Mingarelli (DOCAM)
Reflecting on the knowledge acquired through the case study approach that the
DOCAM Conservation/Preservation Committee adopted, some principles and concepts
appear quite specific to the preservation issues of time-based media artworks.
For these works, the paradigm of authenticity operates as it defines itself
in relation to the work’s integrity to be maintained. Moreover, the question
of historical setting and significance of an artwork is not solely defined
by the maintenance of the original equipment. From these concepts, we will
present a sequential decision-making tree model built to formulate preservation
strategies for time-based media artworks.
Session 6
Virtualizing Agent Ruby:
Collecting Web Art
Jill Sterrett (SFMOMA,
San Francisco)
Mark Hellar (Hellar
Studios LLC, San Francisco)
The artful preservation
of web-based works of art—such as Agent Ruby (1999-2002) by Lynn Hershman Leeson—is the subject of this presentation. Hershman Leeson
is a pioneer of media and conceptual art and Agent Ruby features an artificially-intelligent software agent, an avatar that communicates
with visitors through natural language processing. This concept of an open
learning environment and conversational structure mirrors an important step
towards more participatory work. While preservation methods draw on existing
models for process-based works, keeping web art calls for refreshed forms of
documentation, new museum skills sets and a specific technical infrastructure.
This research is part of Matters in Media Art and is supported by the New Art
Trust.
Media Conservation at the Museum of Modern Art, New York
Glenn Wharton (MoMA,
New York)
MoMA's media collection
consists of over 2,000 audio, video, slide, and computer-based works. Policies
and procedures for collections care are developed by an inter-departmental "Media Working Group" comprised of curatorial, registrar, conservation, audiovisual, and exhibition
design staff. This presentation will include a description of pre-acquisition
and post-acquisition processes, as well as current research to establish a
conservation repository for digital collections.
Art and Food Unlimited? Conservation et présentation d’œuvres d’art éphémères
qui contiennent des produits alimentaires
Julie Gilman (Faculty
of Fine Arts, University College Ghent)
This presentation describes
conservation strategies for ephemeral art with foodstuffs within an interdisciplinary
approach by analyzing case studies. The purpose is to analyze and to question
the complexity of the context in which those artworks are created as well
as the diversity in production methods and in the significance of the foodstuffs
and techniques used. The question ‘in what way the food product, as a base
material, contributes to the substantive meaning of the artwork?’ is pivotal
in the decision making process of conservation of ephemeral artworks. By
introducing
the knowledge of food preservation techniques used in the food industry as
a value operator in the decision making process, this presentation will enable us
to broaden our vision and reach more general conclusions for the conservation
of ephemeral artworks with foodstuffs.
Between organic media and technology. Unstable materials and
contemporary conservation
Hanna Hölling (New
Strategies for Conservation of Contemporary Art, University of Amsterdam)
In the recent
time, there has been a notable amount of artefacts based on organic media and
technology presented either in exhibition venues, during larger art events
or entering the public and private collection. This presentation focuses on the transitory
character of art objects comprising the playback equipment that becomes obsolete
or originally living plant constituents becoming dead in the course of their
life. Within this particular genre of art production, one has to deal with
the question of disappearing, transformation, re-execution and, consequently,
with emulation or even migration in everyday conservation practise. How far
does the change of a physical component alter the meaning of artwork? How do
those processes challenge the established conservation theories?
Session 7
Staging Media Art Installations
Tiziana Caianiello (inter
media art institute (imai), Düsseldorf)
A media art installation
can be presented in different times and different places with a different display
equipment and still be an authentic realisation of the same work. That is why
media art installations are often compared with performing arts like music
or theatre. The term “performance” is however used ambiguously, meaning both
“mise en scène” (staging) and its effect in the presence of audience. The presentation
will therefore distinguish between the concepts of “mise en scène” and “performance”
and focus on the first one and on its crucial role as an interpretation of
the work.
La préservation des équipements obsolètes dans les installations
vidéo et à composantes informatiques
PACKED (Plateforme
pour l'Archivage et la Préservation des Arts Audiovisuels, Bruxelles)
PACKED will present the research project it is conducting between 2009 and 2011
in collaboration with the Netherlands Media Art Institute in Amsterdam, MuHKA,
and S.M.A.K. The aim of this project is to improve the long-term preservation
of works threatened with the obsolescence of equipment essential to their exhibition.
In its first phase, the research has focused on video works, with the second
phase targeting works featuring computer components. The ultimate goal of the
project is to gather the maximum amount of documentation, resources and information
in order to establish a list of practical recommendations on the handling of
equipment in these types of artworks.
“Don’t believe I am an Amazon”: The Preservation of Video
Installations based on Performance Art
Martina Pfenninger (Academy
of Fine Arts Vienna)
Agathe Jarczyk (Atelier
für Videokonservierung, Berne)
The preservation
and documentation of performance-based video installations pose a particular
challenge. The case study on the preservation of an early video installation
by Ulrike Rosenbach is used as an example of the problems that can be encountered.
The artwork varied and was adapted in the course of time. Some of the components
were at different stages of degradation and the legibility of the original
act is compromised. Four archived tapes, all differing in content and in quality,
were evaluated in detail. The applied methodology was a qualitative survey
of the content. The results were interpreted considering the history of performance
and exhibition practice. The aim of the study is to emphasize the crucial aspects
of performance-based video art that need to be documented.
Session 8
Synchoros ou l’œuvre-instrument
Simon-Pierre Gourd (École des médias, Université du Québec à Montréal)
This presentation focuses on the work of Philippe Ménard, notably the development
of Synchoros, a gestural electroacoustic musical instrument, which was the
subject of a DOCAM case study. Deployed over some 20 years from 1981 forward
and via a range of software and material technology, Synchoros represents a
rich journey of collaborations and remarkably cohesive implementations that
have had an impact here and abroad. An innovation of its time, its light-operated
commands allowed for the creation of sound material and musical structures
triggered by the movements of the body. Its unique characteristics make Synchoros a distinctive conservation and archiving case. More than a simple device, it
is an instrument-artwork.
Documenting Digital Art in Small Galleries: The Approach
of the InterPARES 3 Project
Harrison W. Inefuku (School
of Library, Archival and Information Studies, University of British Columbia,
Vancouver)
This presentation discusses
research being conducted at the Morris and Helen Belkin Art Gallery as part
of the InterPARES 3 Project, which is developing a documentation framework
to support the preservation of digital and new media art. The framework includes
the use of a questionnaire for artists; a checklist of records that should
be created and/or acquired by the Gallery; a file structure that allows the
Gallery to maintain its documents and records according to records and archival
management best practices; and an analysis of copyright and moral rights issues.
Is it possible to change the way we will remember it? A journey
between ethical concerns and practical strategies of preservation
Ricardo Dal Farra (Music
Department, Concordia University, Montréal / CEIArtE – UNTreF, Buenos Aires)
The Latin American
Electroacoustic Music Collection documented and preserved at the Daniel Langlois
Foundation (http://www.fondation-langlois.org/html/e/page.php?NumPage=556) represents a major breakthrough in terms of access to large amounts of previously
unavailable music. But it is also a project that has been raising complex questions
regarding aspects as diverse as: audio restoration, archival procedures, database
definitions, cultural property, preservation strategies, cultural memory and
effects on artistic practices, as well as ethical and social concerns. Jacques
Attali wrote “With music is born power and its opposite: subversion […] All
music, any organization of sounds is then a tool for the creation or consolidation
of a community.” Thus, Music has a role in defining our future.
Performing Technology: the challenges of documenting interactive
artworks
Daisy Abbott (Digital
Design Studio, Glasgow School of Art)
Bringing together
research from Human Computer Interaction and dramaturgy, this presentation outlines
the broad types of interactions in immersive interactive virtual environments
and the ways in which artists can design user/audience interactions and create
trajectories of experience through technologically-driven artworks. Recent
research in user expectations of digital documentations of artworks highlights
the challenges inherent in documentation and curation of performance works
and performative interactions in general. Finally, strategies of documentation
and curation for performative artworks are considered using the data lifecycle
model developed by the UK’s national Digital Curation Centre.
Biographies
Daisy Abbott (Digital Design Studio, Glasgow School of Art)
Daisy Abbott’s research interests span various aspects of the creation and
continuing use of digital information. Specific areas of interest include:
digital representations of ephemeral events, and how these representations
affect performing arts scholarship and curation methodologies; performed
heritage; use of digital documentation in education or recreation and the
development of new digital pedagogies; digital culture; digital curation.
In addition to curation strategies for digital resources and artworks, she
is currently developing research in semantic annotation of 3D datasets and
interaction design for medical and heritage visualization.
Ann Butler (Library and Archives at the Center for Curatorial Studies, Bard College)
Ann Butler is the Director of the Library and Archives at the Center for Curatorial
Studies at Bard College. Prior to joining CCS Bard in 2008, Ann was Senior
Archivist at the Fales Library and Special Collections at New York University
where she helped build a collection of over 10,000 linear feet of archival
materials documenting the contemporary and performing arts. Before joining
Fales, she was the Archivist for the Guggenheim Museum. Her research interests
include the intersection of archives and the contemporary arts, and documentation
and preservation issues for performance, moving image, and installation-based
works.
Tiziana Caianiello (inter media art institute, Düsseldorf)
Since 2007, Tiziana Caianiello, PhD, has been Gerda Henkel research fellow
at the imai – inter media art institute, Düsseldorf (Germany), where she
conducted the research project Konkretionen des Flüchtigen (Materialisations
of the Fugitive) on the conservation and presentation of media art installations.
Since 2009, she has also worked as an art historian at the ZERO foundation,
Düsseldorf. In 1999, she participated in the European INCCA project (International
Network for the Conservation of Contemporary Art) and is today founding member
of the regional group INCCA-Italy as well as its senior consultant for theoretical
questions. She studied art history in Naples (Italy) and Cologne (Germany).
Ricardo Dal Farra (Music Department, Concordia University, Montréal /
CEIArtE – UNTreF, Buenos Aires)
Dr. Ricardo Dal Farra is Chair of the Music Department at Concordia University,
Montreal, and Founding Director of the Electronic Arts Experimenting and Research
Centre (CEIArtE) at National University of Tres de Febrero, Argentina. He has
been national Coordinator of the Multimedia Communication program at the National
Ministry of Education, Argentina; Research/Creation Coordinator of Hexagram,
Canada; and researcher and consultant for UNESCO (Digi-Arts), France. He is
an active member of the International Advisory Board of Leonardo, the International
Society for the Arts, Sciences and Technology.
Dal Farra is also an internationally recognized electroacoustic and contemporary
music composer.
http://www.fondation-langlois.org/html/e/page.php?NumPage=1601
Alain Depocas (Centre for Research and Documentation (CR+D), Daniel Langlois
Foundation)
Alain Depocas has been head of the Centre for Research and Documentation (CR+D)
of the Daniel Langlois Foundation (DLF) since 1999. In this capacity, he manages
a documentary collection that covers media, electronic and digital art history,
works and practices. He has also developed a database to manage the collection
and the information relevant to the areas of interest of the CR+D, and is the
Foundation’s website manager. After studying art history at Université de Montréal,
where he received a master’s degree based on the history of photographic theory,
he was a documentalist from 1991 to 1999 at the Musée d’art contemporain de
Montréal, where he was in charge of the Museum’s mediatheque Web site. From
2002 to 2004, he was a co-director of the Variable Media Network under a partnership
between New York’s Guggenheim Museum and the Daniel Langlois Foundation. Since
2005, he has been the research director at DOCAM, an international research
alliance on documentation and conservation of media art.
Sandra Fauconnier (Netherlands Media Art Institute (NIMk), Amsterdam)
Sandra Fauconnier obtained a BA in architecture in 1994 and an MA in art history
at Ghent University (Belgium) in 1997, with a dissertation about “Web-specific
art: the World Wide Web as an artistic medium.” She has published and lectured
frequently on the subject of internet art and media art. From 2000 till 2007,
she worked as a media archivist at V2_ Institute for the Unstable Media in
Rotterdam (the Netherlands), where she developed a metadata system for V2_’s
archive of electronic art, initiated a thesaurus on media art and was involved
in various research projects related to copyright and the preservation of
electronic art. She currently works for the collection of the Netherlands
Media Art Institute (NIMk), Amsterdam (the Netherlands).
http://catalogue.nimk.nl/
Richard Gagnier (Montreal Museum of Fine
Arts)
Richard Gagnier is the Head of Conservation at the Montreal Museum of Fine
Arts since Fall 2007. He graduated from Université de Montréal with a B.Sc.
(Honours) in Chemistry, and a minor in Art History with a strong component
on modern and contemporary art, theory and discourse. He completed the course
requirements of the Master’s program in Art Conservation (MAC) research stream
of Queen University, Kingston, Ontario. He joined the team of the Restoration
and Conservation Laboratory at the National Gallery of Canada in 1984 where
he successively developed expertise as assistant-conservator and conservator
of contemporary art until 2007. His practise encompasses contemporary art
media such as painting, sculpture, installation as well as timed-based media.
He is member of a research group on the re-exhibition of contemporary art
lead by Francine Couture (Art History, UQAM). As part of the DOCAM research
project, he led the activities of the Conservation/Preservation Committee
for the five years tenure of this research.
Jean Gagnon (commissaire indépendante / independent curator, Montréal)
Jean Gagnon is an independent curator and art critic based in Montreal.
From March 2008 to September 2009, he was Director/curator of the SBC Gallery
of Contemporary Art in Montreal. Prior to this, Mr. Gagnon was Executive
Director of the Daniel Langlois Foundation for Art, Science, and Technology
from 1998 to 2008. Since 2004, he has been Adjunct Professor in the Department
of Visual Arts at the University of Ottawa. From 1991 to 1998, he was associate
curator of media arts for the National Gallery of Canada (NGC) in Ottawa.
He initiated the DOCAM research alliance on documentation and conservation
of technologically-based art works. He recently co-edited a special (bilingual)
issue of artpress 2 (Spring 2009) entitled “Media Arts: Conservation and
restoration.”
Julie Gilman (Faculty of Fine Arts, University College Ghent)
Julie Gilman obtained her Master’s degree in Archaeology at Ghent University
(Belgium) in 1999. She further obtained a Postgraduate degree in Conservation
of Contemporary Art (University College Ghent – Museum of Contemporary Art
Ghent – University Ghent) in 2001. After graduation, she worked as coordinator
of this postgraduate programme. She is currently working as a research assistant
at the University College Ghent. Her PhD research is a joint venture of the
KASK (Faculty of Fine Arts), the department of Art, Music and Theatre Sciences
and the department of Food Safety and Food Quality (Ghent University). Her
research comprises the implementation of scientific conservation methods
used in the food industry into the conservation of contemporary artworks
with foodstuffs, taking into account conservation issues in contemporary
art decision-making. The aim of this project is to develop theoretical framework
that contributes to a good practice regarding the care for ephemeral artworks
with foodstuffs.
Simon-Pierre Gourd (École des médias, Université du Québec à Montréal)
Professeur en création sonore à l’École des médias de l’UQAM et chercheur Hexagram,
Simon-Pierre Gourd compte à son actif des créations dans différents domaines
: musiques acousmatiques, créations sonores pour les nouveaux médias, le
cinéma, la radio, la télévision, le théâtre, les arts visuels et la danse.
Oeuvres diffusées en Europe, Etats-Unis et Canada.
Recherches et intérêts : Création média et médias interactifs; musique expérimentale
et problématiques des nouvelles technologies; son appliqué au multimédia; esthétique
musicale et réception du langage sonore; Conservation des œuvres et des artéfacts
technologiques issues des pratiques artistiques; Méthodologie de la recherche-création.
Mark Hellar (Hellar Studios LLC, San Francisco)
Mark Hellar is a consultant on technology initiatives at a number of cultural
institutions throughout the Bay Area and beyond, and the owner of Hellar
Studios LLC. Before opening his own studio in 2009, Mark has worked as a
systems architect at the Tides Foundation, academic technology manager at
the San Francisco Art Institute, and as a digital-media specialist at the
Bay Area Video Coalition. Mark specializes in creative yet practical digital-media
and web-based solutions to the technologically demanding problems faced by
multimedia artists and digital-culture makers whose work requires innovative
infrastructures for archiving, documentation, and exhibition.
Hanna Hölling (Conservator, PhD researcher, University of Amsterdam, New
Strategies for Conservation of Contemporary Art)
Trained at the Academy of Fine Arts in Warsaw, University of Applied Science
in Cologne and the Central Institute of Conservation in Rome. Grants of GFPS
e.v., DPG e.v. und NWO. Conservator at the Restoration Centre in Düsseldorf,
Museum Folkwang in Essen, Museum Ludwig in Cologne (fl) and many other museums;
Head of Conservation at the ZKM | Centre for Art and Media in Karlsruhe. Lecturer
at the State Academy of Art and Design in Stuttgart, Faculty: Conservation
of New Media and Digital Information. Since 2009, PhD candidate at the University
of Amsterdam. Lives and works in Amsterdam and Zürich.
Harrison W. Inefuku (School of Library, Archival and Information Studies,
University of British Columbia, Vancouver)
Originally from Honolulu, Hawaii, Harrison W. Inefuku is currently enrolled
in the Dual Master of Archival Studies/Master of Library and Information Studies
Program at the University of British Columbia where he serves as a graduate
research assistant with the InterPARES (International Research on Permanent
Authentic Records in Electronic Systems) 3 Project. Prior to UBC, he received
degrees in Graphic Design and Visual Culture from the University of the Pacific
in Stockton, California.
Jon Ippolito (University of Maine, Orono)
Jon Ippolito is an artist, writer and curator born in Berkeley, California
in 1962 who turned to making art after failing as an astrophysicist. After
applying for what he thought was a position as a museum guard, Jon was hired
in the curatorial department of the Guggenheim, New York, where in 1993 he
curated Virtual Reality: An Emerging Medium and subsequent exhibitions that
explore the intersection of contemporary art and new media. In 2002 Jon joined
the faculty of the University of Maine's New Media Department, where with
Joline Blais he co-founded Still Water, a lab devoted to studying and building
creative networks. His writing on the cultural and aesthetic implications
of new media has appeared in The Washington Post, Art Journal and numerous
art magazines.
http://www.three.org/ippolito/
Agathe Jarczyk (Atelier für Videokonservierung, Berne)
Agathe Jarczyk studied Conservation of Modern Materials and Media at the University
of Arts in Berne, Switzerland, and received her diploma in 2001. From 2002
to 2008, she worked as a conservator in a video production company for video
artists. Since then, she has been head of the Studio for Video Conservation
in Berne. She is also a lecturer and researcher at the Department for Conservation
and Restoration of Modern Materials and Media at the University of the Arts,
Berne.
Mona Jimenez (Moving Image Archiving
and Preservation, New York University)
Mona Jimenez is an Associate Arts Professor/Associate Director in New York
University’s graduate program in Moving Image Archiving and Preservation.
As a Researcher-in-Residence at the Daniel
Langlois Foundation for Art, Science, and Technology, she created a cataloging template for custom and
commercial machines used to make media art (http://www.fondation-langlois.org/html/e/page.php?NumPage=708).
She is currently working with Kathy High (RPI) and Sherry Miller Hocking
(Experimental Television Center) on a book project on 1970s custom-built
electronic art tools, and dialogues between “pioneers” of tool development
and current practitioners. For the past two years, she has led teams of
moving image archivists to Ghana to work with caretakers of audiovisual
collections.
Brigitte Kerhervé (Computer Science Faculty, UQÀM)
Brigitte Kerhervé has been a professor in the Computer Sciences Faculty at
Université du Québec à Montréal since 1992. Her research interests include
quality of service management (QoS), metadata for multimedia documents, and
advanced database techniques to support adaptive and distributed multimedia
applications and media art. She is involved in a number of research projects
in these areas and over the years has written many articles for conferences,
seminars and journals. In recent years, she has collaborated with visual
and media arts researchers and creators and is interested in computer techniques
that help respond to the needs of media art artists and creators working
with new narrative practices that notably feature audio and video. She focuses
on the mechanisms of adaptation and process modelling and on the management
and organization of metadata and terminological data sets.
Andrea Kuchembuck (DOCAM)
Andrea Kuchembuck holds a BSc in Architecture and Urban Planning from the University
of São Paulo (FAU-USP), Brazil, and a Master’s degree in Museum Studies from
Université du Québec à Montréal (UQAM). She is currently a graduate student
in Information Technology at McGill University. Her research focuses on the
preservation and management of born digital objects within a heritage context,
notably the confluence of archival, library and museological practices. She
has worked in the Architecture Archives and Collection Archives at the Canadian
Centre for Architecture (CCA), where, as a curatorial assistant for the DOCAM
Alliance working under the Head of Conservation, she participated in the
conservation and restoration case study of the Embryological
House project
by Greg Lynn. In 2007 Andrea joined DOCAM’s Documentation and Archival Management
Committee as a research assistant working on the development of a digital
file for artworks.
Katja Kwastek (formerly Ludwig Boltzmann Institute Media.Art.Research.,
Linz)
Katja Kwastek is an art historian. From 2006 to 2009, she worked at the Ludwig
Boltzmann Institute Media.Art.Research. in Linz (Austria), where she directed
the research projects on Interactive Art and acted as vice-director since 2008.
Before, she worked as assistant professor at the art history department of
the Ludwig-Maximilians-University in Munich and was a Visiting Scholar at the
Rhode Island School of Design (Providence, RI). Her research focuses on digital
media art, and she is currently finishing a book on the aesthetics of interaction
in digital arts. She has curated exhibition projects, lectured widely and published
many books and essays, including "Ohne
Schnur. Art and Wireless Communication", Frankfurt (2004).
Sylvie Lacerte (author,
researcher and independent curator, Montréal)
An author, researcher and independent curator, Sylvie Lacerte was coordinator
of the DOCAM Research Alliance from August 2005 until December 2007. In this
role, she lectured at conferences in Canada, Europe and South Korea and wrote
numerous articles in art and academic journals. Holding a PhD in Art Theory
and Practices, she was a DOCAM Seminar instructor in the Art History and
Communication Studies Department of McGill University (2008) as well as at
Université du Québec à Montréal (2007, 2009), where she was responsible for
the Museology course. Her thesis-based work La
médiation de l’art contemporain was published in 2007.
Through the Daniel Langlois Foundation, Sylvie has
also conducted in-depth research on the Experiments in Art and Technology
group and has spoken on her research in Montreal, Paris and Banff. She has
also written on this subject, most recently in 2008, in the anthology Artists
as Inventors/Inventors as Artists (Hatje Cantz: Berlin). She has contributed
her knowledge as a visual arts specialist
to the MCCCFQ policy to integrate art into architecture and to the Public
Art Bureau of the City of Montreal. She has also just taken over as artistic
director for the magazine Spirale. She is currently preparing an exhibition
of the archives of artist Vera Frenkel, scheduled to open in fall 2010 in
Montreal.
Madeleine Lafaille (Canadian Heritage Information Network)
Madeleine Lafaille is a Heritage Information Analyst with the Canadian Heritage
Information Network (CHIN). She has worked within the museum field for the
past 25 years. She is a specialist in museum collections documentation and
management. Within this area of expertise, she has worked on the development
and application of metadata and vocabulary standards for computerized museum
collection information. She has implemented programs and supervised numerous
projects, as well as taught courses and workshops dealing with the creation
and management of digital heritage content. After completing a BA in History
and Anthropology, Madeleine Lafaille obtained a Museology Master’s degree
at the Université de Montréal. More recently, she has pursued research on
knowledge organization systems for museum collections and digital heritage
content. This interest extends to the semantic interoperability of online
content, as well as the convergence of information between library, archival
and museum collections.
Vincenzo Lombardo (CIRMA, Università di Torino, Virtual Reality & Multi
Media Park, Turin)
Vincenzo Lombardo is an Associate Professor of Informatics at the University
of Turin, Italy.
He is co-founder and member of CIRMA (Centre for Research on Multimedia and
Audiovisuals - www.cirma.unito.it)
and teaches at the School of Multimedia and Arts (multidams.campusnet.unito.it). At the Virtual Reality & Multi Media Park
(www.vrmmp.it), he leads the Art-Science Allied Laboratory (ASA Lab), for applied
research projects in interactive multimedia, and the School, with training
programs for professionals of the audiovisual industry. His research concerns
methodologies, models and applications of informatics to the production and
documentation of multimedia artifacts, languages and tools for multimedia production.
He carries on a production activity in multimedia art and communication.
Corina MacDonald (DOCAM)
Corina MacDonald is a graduate of McGill’s School of Information Studies, where
she explored intersections in the theories and practices of knowledge management
and new media art documentation. As an information analyst at the Canadian
Heritage Information Network, she researches standards and tools for the
representation, access and exchange of digital heritage content. Her other
preoccupations include digital sound and electronic music and her music program,
modular_systems, is broadcast bi-weekly on CKUT 90.3 FM.
Alexandre Mingarelli (DOCAM)
Alexandre Mingarelli joined DOCAM near the end of 2008 to help complete the
Alliance’s case studies, conduct research, and assist in the writing of a
best practices guide for the Conservation and Preservation Committee led
by Richard Gagnier. Through his educational background and experience, Alexandre
has brought expertise in media arts electronics and the audiovisual field
to the Committee. He has also produced a range of artistic work and holds
a Bachelor of Art History, both of which have proven an asset in DOCAM’s
examination of the ethical issues surrounding conservation and preservation.
Tomasz Neugebauer (Digital Projects & Systems
Development Librarian, Concordia University)
Tomasz Neugebauer completed a BA at McGill University, with a major in computer
science and a major in philosophy. After working as a professional software
developer and technical writer, he returned to McGill University and completed
a Masters in Library and Information Studies. Since 2006, Tomasz has been working
on various web and digital projects at Concordia University Libraries. He was
responsible for system development of Spectrum: Concordia University Research
Repository, an open access research repository launched in 2009.
Claire Nigay (DOCAM)
Claire Nigay is an iconographer and audiovisual archivist. Having earned a
Master’s degree from the École de bibliothéconomie et des sciences de l’information
with an option in archiving science from Université de Montréal in May 2008,
she has been working for more than a year with professors James Turner, Élise
Dubuc and Dominic Forest. From 2008 to 2009, she helped populate and build
the structure for the DOCAM Glossaurus as a research assistant. During the
same period, she established a photographic catalogue of 22,000 museology
entries and, in collaboration with CRIM, participated in research into video
description for visually-impaired persons. Claire is currently contributing
to both the development of a multilingual, 10-language interface to test
tagging and to scientific research into the automated populating of ontologies
at Université de Montréal.
PACKED (Platform for the Archiving and Preservation of Audiovisual Arts, Brussels)
PACKED is the Dutch acronym for Platform for the Archiving and Preservation
of Audiovisual Arts. Based in Brussels, the platform was created in 2005
by argos, MuHKA (Museum of Contemporary Art Antwerp), S.M.A.K (Municipal
Museum of Contemporary Art - Ghent), and MDD (Museum Dhondt-Dhaenens in Deurle).
PACKED acts as an umbrella organization for the development and dissemination
of knowledge on the cataloguing, preservation and distribution of audiovisual
arts. Its objective is to provide the knowledge obtained to museums, collections,
artists, and the broader field of cultural heritage.
Martina Pfenninger (Academy of Fine Arts Vienna)
Martina Pfenninger received her diploma of Conservation of Modern Materials
and Media at the University of Arts in Berne in 2004. She then worked at
the Schaulager in Basel, installing the Jeff Wall and Tacita Dean / Francis
Alÿs exhibitions. From 2005 to 2007, she worked at the Restaurierungszentrum
in Düsseldorf as a case researcher and assistant co-organiser of the EU-project
Inside Installations. Since 2007, she has been a member of the teaching and
research staff of conservation and restoration of contemporary art at the
Academy of Fine Arts Vienna.
Jill Sterrett (SFMOMA, San Francisco)
Jill Sterrett is Director of Collections & Conservation
at SFMOMA, where she has worked since 1990. Jill has also worked at the Fine
Arts Museums of San Francisco, Library of Congress, Philadelphia Museum of
Art, and National Library of Australia. She is interested in how collecting
and preserving contemporary art calls into question fundamental assumptions
underlying traditions of fine art stewardship and she is committed to the vital
collaborations between artists, curators, technical experts, registrars, and
conservators that underpin contemporary art conservation practice. Jill has
published and taught on the subject of museums, conservation and contemporary
art, including as a Fulbright scholar in Portugal.
Will Straw (McGill University)
Will Straw is Professor in the Department of Art History and Communications
Studies at McGill University in Montreal. He is the author of Cyanide and
Sin: Visualizing Crime in 50s America and of over 90 articles on music, film
and urban culture. He is currently director of a research project on Media
and Urban Life in Montreal.
Felicity Tayler (Information Specialist, Artexte)
Felicity Tayler is an Information Specialist at Artexte, where she manages
an extensive collection of publications and documentation about contemporary
Canadian art. She holds a BFA from Concordia University and a Masters in
Library and Information Studies from McGill University. Active in artist-run
culture since 2000, her writing on artist-initiated publishing can be read
in Women and Environments International, Art Libraries Journal and Art Documentation.
James Turner (EBSI, Université de Montréal)
James M Turner is a professor at the École de bibliothèconomie et des sciences
de l’information at the Université de Montréal. He holds a PhD in information
science from the University of Toronto. He teaches in the areas of organising
audiovisual collections and preserving digital information. His research
areas include shot-level indexing of moving images, storage and retrieval
of pictures, metadata for images in a networked environment, preserving digital
audiovisual materials, and audio description and other access to images for
users who are blind or have vision loss. More information about his activities
is available at:
http://mapageweb.umontreal.ca/turner/
Cindy Veilleux (DOCAM)
Cindy Veilleux conducted her graduate work in museology with an emphasis on
the conservation of collections. Her undergraduate studies focused on art
history and plastic arts at Université Laval. She works with the Société
des musées québécois (SMQ), where she has filled a number of positions and
has been involved in projects associated with the documentation of collections,
museum governance, and museology training and professional development. She
is currently responsible for Communication and is preparing for the États
généraux des musées (2009-2011). Cindy was a DOCAM research assistant (Cataloguing
and Structure Committee) at the Musée d’art contemporain de Montréal, where
she coordinated the production of the Cataloguing
Guide for New Media Collections.
Glenn Wharton (MoMA, New York)
Glenn Wharton is the Time-Based Media Conservator at the Museum of Modern Art
in New York. He is also on faculty at New York University where he teaches
graduate courses in the conservation of contemporary art, and he serves as
Executive Director of INCCA-NA, the North American group of the International
Network for the Conservation of Contemporary Art. Glenn received his MA from
the Cooperstown Graduate Programs in 1981 and his PhD from the Institute
of Archaeology, University College London in 2005.
Rolf Wolfensberger (Museum of Communication in Berne)
Rolf Wolfensberger is a curator for photography, film and video and conservator
for electronic media artworks at the Museum of Communication in Berne, Switzerland.
PhD in Social History and Historical Anthropology/MA in MediaArtHistory.
Ongoing research project on documenting audience experience of participative
media artworks.
Anne-Marie Zeppetelli (Musée d’art contemporain de Montréal)
Anne-Marie Zeppetelli has worked in the collection archives department of the
Musée d’art contemporain de Montréal (MACM) since 1989 and has been a collection
archivist since 2000. Her educational background is in art history and plastic
arts, and she holds a Master of Fine Arts degree from Concordia University
(1994). She has many years of experience in museology, having begun her career
at the Montreal Museum of Fine Arts in 1982 as a photographer and documentalist.
In 1997, she participated in the development and implementation of a new
data management system for the MACM collections and was also involved in
a number of projects to disseminate works on the Web, including, most notably,
ARTimage, a Web site developed in partnership with the Musée national des
beaux-arts du Québec and the Montreal Museum of Fine Arts. She also collaborated
on the Digital Art project led by the Canadian Heritage Information Network.
Since 2005, she has been a member of the DOCAM Research Alliance Cataloguing
and Structure Committee.