DOCAM 2010

Résumés / Abstracts

Thursday 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 ( 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.


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.

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).

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.

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 ( 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 - and teaches at the School of Multimedia and Arts ( At the Virtual Reality & Multi Media Park (, 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:

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.