ANNUAL SUMMITS 2005 Summit
2005 Annual Summit
The first annual DOCAM research alliance summit was held in Montreal on October 5, 2005 at the Canadian Centre for Architecture. The summit provided an opportunity to better understand the challenges of conserving and documenting works of art featuring technological content. Many DOCAM participants presented the various research components of the project. In addition, guest speakers shared information on a number of resources, tools and research projects associated with DOCAM themes.
Overview of the DOCAM research project
Day 1, Group 1Alain Depocas, director of the DOCAM Research Alliance and of the Centre for Research and Documentation (CR+D), la fondation Daniel Langlois pour l’art, la science et la technologie
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Models for methodology in the preservation of time-based media works using the case study approach
Day 1, Group 1Richard Gagnier, Montréal Museum of Fine Arts (MMFA), chair of the DOCAM Conservation & Preservation Committee, MontréalConservation and Preservation Committee presentation. The term ‘time-based media’ encompasses works of art that deploy their effects within a certain notion of mobility or changes that occur in the work as the viewer experiences it. This term generally refers to film, video, and any other source of moving images. The domain is finding an immense territory of exploration with today’s widely used digital concepts and manipulations. Still, analog supports, such as slides, can also be included in this denomination, as well as sound recording supports, whether analog or digital.... |
Case Studies in Documentation
Day 1, Group 1Alain Depocas, director of the DOCAM Research Alliance and of the Centre for Research and Documentation (CR+D), la fondation Daniel Langlois pour l’art, la science et la technologie
Documentation and Archival Management Committee presentation. Current documentation practices in the arts sector are generally passive and more often than not are conducted after a work of art has been produced. Museums that acquire artworks featuring technological components have neither the tools nor the methodologies needed to adequately document the technological dimension of these works or their high degree of variability.... |
The educational challenges of DOCAM
Day 1, Group 1William Straw, McGill UniversityPedagogical activities presentation. The upcoming seminar on “New Media Preservation”, to be held in the Winter of 2006, will bring together the various areas of the DOCAM project, in a concentrated, workshop-like course designed to introduce students to the various aspects of New Media Preservation. Curators, historians of technology, information scientists and museum professionals will provide overviews of the issues confronting those engaged in New Media Preservation. My presentation will offer an overview of the seminar and discuss its role within the DOCAM project overall. |
Cataloguing structure and tools for works featuring technological content
Day 1, Group 1Anne-Marie Zeppetelli, Musée d’art contemporain de MontréalCataloguing Structure Committee presentation. The DOCAM cataloguing sub-committee is collaborating to implement a structure and overall analytical approach to catalogue digital works of art. Using existing documents and assisted by a pilot project at the Musée d’art contemporain de Montréal, committee members will prepare a four-year work plan. This joint effort aims to develop an illustrated “how-to guide,” complete with numerous concrete examples. We hope that the effort will provide straightforward answers to the often complex questions that abound in this specialized domain. |
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Thesaurus and ontological model for media arts
Day 1, Group 1James Turner, Université de MontréalTerminology Committee presentation |
Typology, classification and historical directory of technologies used by artists
Jour 1, Session 1William Straw, McGill UniversityTechnological Timeline Committee presentation. |
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Variable Media: A Case study on The Erl King by Grahame Weinbren and Roberta Friedman
Day 1, Group 2Caitlin Jones, Guggenheim Museum, New YorkConservators have explored many traditional and experimental strategies for dealing with works of an ephemeral nature. Among these strategies is a way to replicate obsolete or unavailable materials or hardware – emulation. To emulate a work is to devise a way of imitating the original look of a piece by completely different means. The term can be applied generally to a refabrication of an artwork’s components, but also has a specific meaning in the context of digital media, where emulation offers a powerful technique for running an out-of-date computer on a contemporary one... |
Read more: Variable Media: A Case study on The Erl King by Grahame Weinbren and Roberta Friedman
The V2 Thesaurus: A Terminological tool for media arts
Day 1, Group 3Sandra Fauconnier, V2, Institute for the Unstable Media, RotterdamHow does one register, record, store and archive information related to the preservation of media art? Which principles, systems and tools in the field of information architecture can enhance the easy storage and retrieval of such data in digital form? Various applications of taxonomies – or classification systems – may provide state-of-the-art instruments here... |
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The Moving Image Archiving and Preservation Program at New York University
Day 1, Group 4Howard Besser, New York University |
Read more: The Moving Image Archiving and Preservation Program at New York University
InterPARES 2: An International research project on the conservation of electronic records
Day 1, Group 5Luciana Duranti, School of Library, Archival and Information Studies, The University of British Columbia, VancouverThis paper will present the preliminary findings of InterPARES 2, an international multi-disciplinary research project that aims to develop theory and methods, strategies and standards for the permanent preservation of the authentic digital records resulting from artistic, scientific and e-government activities regardless on the face of media fragility and technological obsolescence. Several case studies have been conducted in the area of digital art; their results will be presented, with an outline of the conceptual and methodological hypotheses derived from them. |
Read more: InterPARES 2: An International research project on the conservation of electronic records
Artist Instrumentation Database Project
Day 1, Group 6Mona Jimenez, Tisch School for the Arts, New York University
The study of electronic instruments and devices designed and used by 20th century artists is in its infancy. The goal of the Artist Instrumentation Database Project was to create a prototype database template for describing these devices, thus encouraging their documentation. The accessibility of descriptive databases will enable study of the devices and related forms of artistic practice, and will hopefully lead to their preservation... |
Collaborating with Artists: The Experience of an expert in media art technologies
Day 1, group 7Colin Griffiths, Contemporary Art Logistics, VancouverThe presentation will discuss the collaborative relationship Mr. Griffiths has developed in working with artists, particularly with respect to establishing and maintaining the conceptual criteria for the artwork. |
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Electronic Arts Intermix (EAI) Online Resource Guide for Exhibiting & Collecting Media Art
Day 1, Group 7Lori Zippay, Electronic Arts Intermix, New YorkMedia art presents a unique and evolving set of exhibition, collection and preservation challenges. Founded in 1971, EAI is a nonprofit media arts organization that distributes and preserves a major collection of over 3,000 video and interactive media art works... |
The European Project on Conserving and Presenting Installations
Day 1, Group 8Tatja Scholte, International Network for the Conservation of Contemporary Art, AmsterdamJune 1st 2004 marked the start of a new three-year research project on the preservation and presentation of installation art, supported by the European Commission’s Culture 2000 programme. The project is coordinated by the Netherlands Institute for Cultural Heritage (ICN) and co-organised by five other European organisations: TATE, England; Restaurierungzentrum Düsseldorf, Germany; Museo Nacional Centro de Arte Reina Sofia, Spain; Stedelijk Museum voor Actuele Kunst, Belgium and the Foundation for the Conservation of Contemporary Art, The Netherlands... |
Read more: The European Project on Conserving and Presenting Installations