The glossary contained in Permanence Through Change: The Variable Media Approach (2003) states: “To emulate a work is to devise a way of imitating the original look of the piece by completely different means. The term emulation can be applied generally to any refabrication or substitution o...

  “To migrate an artwork involves upgrading equipment and source material.” [1]   For example, migrating the televisions used in Nam June Paik’s artwork Royal Canadian Mounted Police consisted of replacing them with LCD or plasma screens. “The major disadvantage of migration is that...

Migration is a current strategy applied in the effort to preserve media artworks. Certain technologies at risk due to obsolescence can be replaced by new technologies that are both more efficient and available. However, in some cases, conducting such migrations can by dangerous, as technologies t...

“The most conservative collecting strategy—the default strategy for most museums—is to store a work physically.” [1]   The principle generally applied in long-term preservation is to secure many duplicates of a given piece of equipment if its condition can be maintained in a storage env...

“The most radical preservation strategy is to reinterpret the work each time it is re-created.” [1] The reinterpretation of UNEX Sign No. 2 by Jenny Holzer required deciding which medium would have the same metaphoric value as the 1980s-era electronic UNEX sign in the work. With Holzer having ch...

  Reconstruction consists of reproducing the behaviours and effects of a work using few or no components from the original piece. This is possible, for example, in highly specific cases where a technological work includes a software program in which the artist has created objects accompanied ...

  Choosing among the various conservation strategies is made easier through a series of questions that can be answered using a decision tree developed by the DOCAM Conservation and Preservation Committee.   The decision tree is a restoration tool that allows stakeholders to identify the prob...

[INSTITUTION LOGO ]   CATALOGUING FORM FOR NEW MEDIA WORKS   INVENTORY NUMBER: ENTRY DATE:   ARTIST   NAME :___________________________________________________________________________________________________ GENDER:_______________________...

  The descriptive table presented in this guide is based on the work completed by the Cataloguing Committee as well as established cataloguing standards and practices. The content can easily be integrated into various collection management systems through existing input fields. The fields deemed ...

Day 2, Group 3 Corina Macdonald, DOCAM Terminology Committee, Montréal DOCAM’s Terminology Committee works to develop vocabulary management tools for DOCAM researchers and the professional community. To date, these tools have taken the form of a glossary and thesaurus, which focus ...

[INSTITUTION LOGO]   DOCUMENTATION FOR TECHNOLOGICAL CHANGES   (FORM TO BE COMPLETED FOR EACH PRESENTATION)   INVENTORY NUMBERS: _____________ ARTIST: ___________________________ TITLE/DATE : ______________________ ____________________________________ ...

  It is accepted today that certain media can no longer be relied upon to preserve electronic files. For example, 5¾ inch diskettes are a very poor conservation choice; their low capacity and inevitable obsolescence make them an inadequate option. And while the inappropriateness of this conserva...

[ARTIST DEALER] [Contact information]     CERTIFICATE     Artist : xxxx   Title : xxxx   Date : xxxx   [An example of the [Title], [date], (the "Work") in its completed form was first exhibited (information on previous exhibitions with dates)]. [The Work exists...

[Title of work] [PHOTO]     CERTIFICATE OF AUTHENTICITY [Artist name]   [Title of work] [Description] [Edition] This certificate and instructions constitute ownership of the work:   [Title of work] [Edition]   The work consists of: ...

Day 2, Group 2 Guillaume Boutard, Institut de Recherche et de Coordination Acoustique / Musique (IRCAM), Paris Starting from the outcome of the Mustica project, IRCAM revised the whole architecture in order to apply the OAIS model according to the design defined during the CASPAR proje...

Day 2, Group 1 Bruno Bachimont, Erik Gebers and Johann Holland, Université technologique de Compiègne (UTC), National Centre for Scientific Research (CNRS), France UTC/CNRS designed an interface dedicated to the community members of the performing arts domain. Thanks to the iterativ...

Introduction One of the major issues surrounding the preservation and conservation of media artworks is assuring the stability of the media and the smooth functioning of the equipment involved. With technology constantly changing and equipment and media often fragile and their materials subject to...

January 7, 2008 Alain Depocas, Director of the DOCAM Research Alliance, Daniel Langlois Foundation for Art, Science, and Technology Alain Depocas © DOCAM 2008 seminaire2008_depocas.xml 1) Introduction to The Variable Media Network; The "Seeing Doub...

  The graphic interface was created to allow users to visualise the relationship between the document, the work and all of the agents (individuals or institutions) involved in the work’s lifecycle.     Figure 3 – Digital Workfile visualisation interface   The center of the int...

April 6, 2009 Alain Depocas, Director of the DOCAM Research Alliance, Daniel Langlois Foundation for Art, Science, and Technology * Please note that this presentation is in French Alain Depocas © DOCAM 2009 seminaire2009_depocas.xml 1) Introduction...

January 17, 2006 Caitlin Jones, Guggenheim Museum, New York Caitlin Jones © DOCAM 2006 seminaire2006_Jones.xml 1) Introduction to the Variable Media Network, description of variable media behaviours, and strategies for preservation / Introduction au Réseau ...