At the suggestion of some folks on this list, I've created a website that lists the recommendations for new media preservation offered in the concluding chapter of Re-collection:
http://re-collection.net/recommendations.html
Our "twelve-step program" to rescue digital culture is broken down by profession:
Curators
Conservators
Archivists
Collection Managers
Institutions
Programmers
Lawyers
Creators
Dealers
Sponsors
Academics
Historians
Rick and I hope these guidelines may answer some of the questions asked on this list and spur additional strategies for safeguarding our heritage in the decades to come.
jon
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Monday, July 21, 2014
[Yasmin_discussions] Fwd: [NEW-MEDIA-CURATING] Fwd: The Smithsonian Interview Project: Ten Insights from Artists and Experts in the Field
of relevance
roger
roger
---------- Forwarded message ----------
From: Beryl Graham <beryl.graham@sunderland.ac.uk>
Date: Mon, Jul 21, 2014 at 12:07 PM
Subject: [NEW-MEDIA-CURATING] Fwd: The Smithsonian Interview Project:
Ten Insights from Artists and Experts in the Field
To: NEW-MEDIA-CURATING@jiscmail.ac.uk
Dear List,
As we are on the subject of preservation, there is now a new summary
document from the Smithsonian ...
Begin forwarded message:
From: "Sanchez, Crystal A." <SanchezCA@si.edu<mailto:SanchezCA@si.edu>>
Subject: The Smithsonian Interview Project: Ten Insights from Artists
and Experts in the Field
Date: 18 July 2014 17:27:40 BST
Good afternoon,
Thank you for sharing your thoughts with the Smithsonian's Time-Based
Media and Digital Art Working Group on Technical Standards in the Care
of Media Artworks. We have finalized our report.
The Smithsonian Interview Project: Questions on Technical Standards in
the Care of Time-Based and Digital Art
Ten Insights from Artists and Experts in the Field
Produced by the Smithsonian's Time Based Media and Digital Art Working
Group and the Smithsonian Office of Policy and Analysis
July 2014
It can be found on the website, along with the interview transcripts.
www.si.edu/tbma/projects#interviews<http://www.si.edu/tbma/projects#interviews>
www.si.edu/content/tbma/documents/SI_TBMA_10_Insights.pdf<http://www.si.edu/content/tbma/documents/SI_TBMA_10_Insights.pdf>
Again, thank you for being a part of the project. Please let us know
if you have any questions and feel free to distribute it.
Thanks,
Crystal Sanchez
Smithsonian Institution
Video Specialist – DAMS, OCIO
SanchezCA@si.edu<mailto:SanchezCA@si.edu>
202.633.4489
--
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Friday, July 18, 2014
Re: [Yasmin_discussions] Fwd: Are there masterpieces of new media art
Roger, Annick,
These are very good points. And perhaps I was dreaming a little in my writing that we no longer need to rely on the concepts of masters and masterworks in the sense of the cult of celebrity in the artworld, but my real point in that chapter was a little more practical and less ideological. Roger, what you have written about below is a little different still; it's about the aesthetic and historic evaluation of works (and establishing those with significant aesthetic and/or historic value as key works) and that is utterly necessary and appropriate. In fact, it's foundational to what we're talking about, after all, preservation starts with selection and selection starts with rigorous evaluative criteria (the lack of which also hinders the serious recognition and preservation of new media art, and, again that's a related point.)
To clarify what I was saying in the book (http://re-collection.net/ ) chapter 2 was that new media art currently has no widely-recognized masters and masterworks and that this is a barrier to preservation. Whether or not one likes the idea of masterworks, this kind of popularity can act as a rallying point for preservation. When film preservationists point to the fact that the master print for 'Gone with the Wind' has been lost, they touch a popular social meme to evoke emotion and with it money and will. When the Smithsonian points to the threadbare 'Old Glory' flag, a widely recognized icon in America, they tap into nationalistic pride, and with it money for preservation. Conserving the Sistine Chapel frescos gathered world-wide attention to issues of preservation and authenticity.
I would be hard-pressed to come up with the name of a new media artist/artwork that would be recognized by and inspire members of the U.S. Congress to allocate serious money for national digital art preservation program. And that's what I mean by widely or universally recognized; recognized beyond the boundaries of a profession into the larger social sphere.
So, it may be simple happenstance that we've new media has not had enough years behind it to accrete masterworks or maybe the field itself coupled with Roger's aforementioned postmodern avoidance of canon-making ideologically resists ensconcing new masters - for whatever reasons, the current practical side-effect is that this genre lacks one useful tool for garnering support and resources for preservation.
Richard Rinehart
---------------------
Director
Samek Art Museum
Bucknell University
---------------------
Lewisburg, PA, 17837
570-577-3213
http://galleries.blogs.bucknell.edu
On Jul 10, 2014, at 5:29 PM, Annick2 wrote:
> Dear All,
>
> Thanks for this Roger. Of course I fully support your statement. And I would like to add to it.
>
> - Isn't it the other way around ? We don't think we have masterpieces in new media art because the (old) works are not shown and barely preserved ? When was a Rembrandt considered a masterpiece ? He may have been a successful artist of his time but that is different from producing masterpieces, right ?
>
> - I may be terribly old fashioned and not enough post modern but I do believe that some of the new media art works have an aesthetic quality beyond any tech turn point or social breakthrough or whaterver. Moreover, I believe some works are also key when they still have an aesthetic interest even when the technology they were built/created with has become trivial. The question then is what am I looking at when I interact with them : my memory of my first emotion or the possibility of a renewed emotion (or intellectual pleasure to make it wider) ?
>
> - I do agree with Roger, we need to combine art history/science history/technology history/social history and probably much more.... which is precisely what is done by big museums like Le Louvre about the artifacts they collect, right ?
>
> By the way, Roger, I think we started using the terminology "key works" and listing some art works we thought belongued to the category during the week seminar we did at Les Treilles.
> http://olats.org/projetpart/treilles/mono_index.php
>
> Annick
>
> P.S. I apologize, I haven't read the book yet, still waiting it crosses the Atlantic to reach my mailbox !
>
>
> Le 10/07/14 22:04, roger malina a écrit :
>> Rick
>>
>> on page 26 of the book ( http://re-collection.net/ ) in chapter 2 that
>> you authored
>> you make the flat statement:
>>
>> " A somewhat smaller problem confronting preservation is that new
>> media art has no universally recognised
>> "masters' "masterworks' or 'movements'. There are artists who have
>> been exhibited more than others
>> but there is no Rembrandt of New Media art'- as you point out this has
>> significant impact on conservation
>> and archiving strategies that are elaborated in chapter 5, 9 and 13
>> and feeds into your social memory theme
>>
>> in a meeting in holland in 1996 i think we had a meeting of a number
>> of people including jurgen claus,otto piene
>> annick bureaud and others and we hashed this 'are there masterpieces
>> of new media art' topic and
>> agreed that there were however key works that somehow in our memory
>> were turning points- annick
>> already to her watching charlotte morman levitating during art
>> transitions at mit , but as someone
>> who has served on numerous ars electronica and other juries i can
>> remember the delight we had when
>> works like rokeby's "very nervous sytem', sommerer.mignoneau
>> interactive plants, char davies ephemere,
>> kac's genesis, jeffrey shaw's legible city just to name a few emerged
>> in the exhibition landscape
>>
>> one of the interesting aspects of new media art it seems to me is that
>> the works cross link in
>> the history of art, the history of technology and the history of
>> science so that a key work can
>> be remembered because it broke a technical impediment and led to
>> artists mastery over medium=
>> certainly in shaw's legible city, the aha was the break from the
>> keyboard interface and the idea of bicycling
>> around a virtual space-if you think of much of the key work by the
>> vasulkas= the achievement is a combination
>> of key work in art and key work in interactive technologies- similarly
>> oron catts and iona zurr's semi living
>> worry dolls - are interesting both because of their place in art
>> history but also in the cultural appropriation of science
>>
>> in some cases the key work that innovative technologically at the time
>> gets overtaken because the
>> technology is superceded - the kinect and wii make irrelevant to some
>> extent some of the key techological
>> aspects of early key works= as annick noted she is working on the
>> history of art and the french minitel
>> which the internet made obsolete as a technical solution but that
>> doesnt mean that that key minitel art work isnt
>> still significant in the history ofart/science/tech and certainly in
>> our social memory of the times those works are still important to
>> archive
>>
>> i think the concept of key works rather than masterpieces is
>> consistent with out post-modern non canon building sensibilities
>> and can provide guidance to conservator and curators on which work to
>> archive first- and that this needs to be in
>> the framework of the history of art+science+technology not just the
>> history of art - this is problematical of course- in
>> san francisco the computer history museum, the SF museum of modern art
>> and the academy of sciences have
>> curators formed in very different ways, and art historians or curators almost
>> never talk to science historians or technology historians and curators
>>
>> roger malina
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>> TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>> If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
>>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
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_______________________________________________
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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
These are very good points. And perhaps I was dreaming a little in my writing that we no longer need to rely on the concepts of masters and masterworks in the sense of the cult of celebrity in the artworld, but my real point in that chapter was a little more practical and less ideological. Roger, what you have written about below is a little different still; it's about the aesthetic and historic evaluation of works (and establishing those with significant aesthetic and/or historic value as key works) and that is utterly necessary and appropriate. In fact, it's foundational to what we're talking about, after all, preservation starts with selection and selection starts with rigorous evaluative criteria (the lack of which also hinders the serious recognition and preservation of new media art, and, again that's a related point.)
To clarify what I was saying in the book (http://re-collection.net/ ) chapter 2 was that new media art currently has no widely-recognized masters and masterworks and that this is a barrier to preservation. Whether or not one likes the idea of masterworks, this kind of popularity can act as a rallying point for preservation. When film preservationists point to the fact that the master print for 'Gone with the Wind' has been lost, they touch a popular social meme to evoke emotion and with it money and will. When the Smithsonian points to the threadbare 'Old Glory' flag, a widely recognized icon in America, they tap into nationalistic pride, and with it money for preservation. Conserving the Sistine Chapel frescos gathered world-wide attention to issues of preservation and authenticity.
I would be hard-pressed to come up with the name of a new media artist/artwork that would be recognized by and inspire members of the U.S. Congress to allocate serious money for national digital art preservation program. And that's what I mean by widely or universally recognized; recognized beyond the boundaries of a profession into the larger social sphere.
So, it may be simple happenstance that we've new media has not had enough years behind it to accrete masterworks or maybe the field itself coupled with Roger's aforementioned postmodern avoidance of canon-making ideologically resists ensconcing new masters - for whatever reasons, the current practical side-effect is that this genre lacks one useful tool for garnering support and resources for preservation.
Richard Rinehart
---------------------
Director
Samek Art Museum
Bucknell University
---------------------
Lewisburg, PA, 17837
570-577-3213
http://galleries.blogs.bucknell.edu
On Jul 10, 2014, at 5:29 PM, Annick2 wrote:
> Dear All,
>
> Thanks for this Roger. Of course I fully support your statement. And I would like to add to it.
>
> - Isn't it the other way around ? We don't think we have masterpieces in new media art because the (old) works are not shown and barely preserved ? When was a Rembrandt considered a masterpiece ? He may have been a successful artist of his time but that is different from producing masterpieces, right ?
>
> - I may be terribly old fashioned and not enough post modern but I do believe that some of the new media art works have an aesthetic quality beyond any tech turn point or social breakthrough or whaterver. Moreover, I believe some works are also key when they still have an aesthetic interest even when the technology they were built/created with has become trivial. The question then is what am I looking at when I interact with them : my memory of my first emotion or the possibility of a renewed emotion (or intellectual pleasure to make it wider) ?
>
> - I do agree with Roger, we need to combine art history/science history/technology history/social history and probably much more.... which is precisely what is done by big museums like Le Louvre about the artifacts they collect, right ?
>
> By the way, Roger, I think we started using the terminology "key works" and listing some art works we thought belongued to the category during the week seminar we did at Les Treilles.
> http://olats.org/projetpart/treilles/mono_index.php
>
> Annick
>
> P.S. I apologize, I haven't read the book yet, still waiting it crosses the Atlantic to reach my mailbox !
>
>
> Le 10/07/14 22:04, roger malina a écrit :
>> Rick
>>
>> on page 26 of the book ( http://re-collection.net/ ) in chapter 2 that
>> you authored
>> you make the flat statement:
>>
>> " A somewhat smaller problem confronting preservation is that new
>> media art has no universally recognised
>> "masters' "masterworks' or 'movements'. There are artists who have
>> been exhibited more than others
>> but there is no Rembrandt of New Media art'- as you point out this has
>> significant impact on conservation
>> and archiving strategies that are elaborated in chapter 5, 9 and 13
>> and feeds into your social memory theme
>>
>> in a meeting in holland in 1996 i think we had a meeting of a number
>> of people including jurgen claus,otto piene
>> annick bureaud and others and we hashed this 'are there masterpieces
>> of new media art' topic and
>> agreed that there were however key works that somehow in our memory
>> were turning points- annick
>> already to her watching charlotte morman levitating during art
>> transitions at mit , but as someone
>> who has served on numerous ars electronica and other juries i can
>> remember the delight we had when
>> works like rokeby's "very nervous sytem', sommerer.mignoneau
>> interactive plants, char davies ephemere,
>> kac's genesis, jeffrey shaw's legible city just to name a few emerged
>> in the exhibition landscape
>>
>> one of the interesting aspects of new media art it seems to me is that
>> the works cross link in
>> the history of art, the history of technology and the history of
>> science so that a key work can
>> be remembered because it broke a technical impediment and led to
>> artists mastery over medium=
>> certainly in shaw's legible city, the aha was the break from the
>> keyboard interface and the idea of bicycling
>> around a virtual space-if you think of much of the key work by the
>> vasulkas= the achievement is a combination
>> of key work in art and key work in interactive technologies- similarly
>> oron catts and iona zurr's semi living
>> worry dolls - are interesting both because of their place in art
>> history but also in the cultural appropriation of science
>>
>> in some cases the key work that innovative technologically at the time
>> gets overtaken because the
>> technology is superceded - the kinect and wii make irrelevant to some
>> extent some of the key techological
>> aspects of early key works= as annick noted she is working on the
>> history of art and the french minitel
>> which the internet made obsolete as a technical solution but that
>> doesnt mean that that key minitel art work isnt
>> still significant in the history ofart/science/tech and certainly in
>> our social memory of the times those works are still important to
>> archive
>>
>> i think the concept of key works rather than masterpieces is
>> consistent with out post-modern non canon building sensibilities
>> and can provide guidance to conservator and curators on which work to
>> archive first- and that this needs to be in
>> the framework of the history of art+science+technology not just the
>> history of art - this is problematical of course- in
>> san francisco the computer history museum, the SF museum of modern art
>> and the academy of sciences have
>> curators formed in very different ways, and art historians or curators almost
>> never talk to science historians or technology historians and curators
>>
>> roger malina
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>> TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>> If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
>>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
> If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
_______________________________________________
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Yasmin URL: http://www.media.uoa.gr/yasmin
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[Yasmin_discussions] Test your knowledge of new media preservation with this fun quiz
OK, maybe it's not fun, but here's an informal quiz inspired by examples cited in Re-collection. My answers at bottom--dissent welcome ;)
jon
________________
New Media Preservation quiz
Based on the book Re-collection (http://re-collection.net)
* From "The Lost and the Saved" (chapter 1):
1. Which of the following is the shortest-term preservation strategy for digital media?
a. Storage
b. Migration
c. Emulation
d. Reinterpretation
* From "New Media and Social Memory" (chapter 2):
2. What does Pixar consider the most important version of Toy Story to preserve?
a. The celluloid print
b. The 3d data
c. The negative
d. The written script
*From "Death by Technology" (chapter 3):
3. Which of the following is *least* vulnerable to the obsolescence of locative media?
a. Manifest.AR, Not Here (augmented reality)
b. Richard Serra, Tilted Arc (site-specific sculpture)
c. Janet Cardiff, The Telephone Call (recorded museum tour)
d. Jodi.org, GeoGoo (Google Maps hack)
4. Which was the shortest lifespan of a genre of new media art due to obsolescence?
a. 25 years (movies on VHS)
b. 20 years (VR on Silicon Graphics)
c. 12 years (interfaces in Macromedia/Adobe Flash)
d. 11 months (HTML animation in Netscape 1.1s)
5. What technological upgrade in 2009 drove the biggest nail in the coffin of 20th-century installations based on broadcast television, such as Nam June Paik's TV Crown?
a. The Blu-ray disc
b. 1080p displays
c. The digital TV signal
d. Netflix
* From "Variability Machines" (chapter 4):
6. Which critic argued that art should not be variable but "at all times wholly manifest"?
a. Walter Benjamin
b. Michael Fried
c. Rosalind Krauss
d. Steve Ballmer
* From "Metadata and the Historic Record" (chapter 5):
7. Which preservation standard is the metadata schema MANS (Media Art Notation System) is based on?
a. CMCM (Capturing Unstable Media Conceptual Model)
b. Matters in Media Art
c. PANIC (Preservation Architecture for New media and Interactive Collections)
d. VMQ (Variable Media Questionnaire)
* From "Death by Institution" (chapter 6):
8. Which is the best search engine for searching across database-driven collections online?
a. Google
b. Yahoo
c. Bing
d. There isn't one.
* From "The Open Museum" (chapter 7):
9. When recording an analog source to digital audio in CD quality, what frequencies will be contained in this recording, according to the Nyquist-Shannon theorem?
a. Up to half the sample rate (up to 22.05 kHz)
b. Up to the sample rate (up to 44.1 kHz)
c. Up to double the sample rate (up to 88.2 kHz)
d. You can't create digital audio from samples
* From "Generation Emulation" (chapter 8):
10. What can a chip-level emulator like Virtual PC for Windows run?
a. Operating systems, like Windows 95
b. Applications, like Microsoft Word or Photoshop
c. Handmade code, like an artist's website
d. Anything that originally ran on the Intel x86 chip.
11. Which of the following environments was *not* a case study of the multi-institutional initiative "Preserving Virtual Worlds"?
a. Spacewar
b. Civilization
c. Second Life
d. Flappy Bird
* From "Death by Law" (chapter 9):
12. Which US law makes it illegal to circumvent Digital Rights Management (DRM), even if there is no company left holding the rights?
a. Stop Online Piracy Act (SOPA)
b. Protect Intellectual Property Act (PIPA)
c. Digital Millennium Copyright Act (DMCA)
d. Combatting Online Infringement and Counterfeits Act (COICA)
* From "Unreliable Archivists" (chapter 10):
13. Why do Amazon stories of human encounters with the Mapinguary demonstrate that oral culture can outlive stone records?
a. The Mapinguary is a timeless fictional character.
b. The Mapinguary has been extinct for tens of thousands of years.
c. Drawings of the Mapinguary have been found on prehistoric animal skins.
d. Drawings of the Mapinguary inscribed in stone were lost when the Lima museum burned down.
* From "Variable Organisms" (chapter 11):
14. Which of these can store 700 terabytes?
a. 10,000 Blu-ray discs
b. One gram of DNA
c. The print collection of the Library of Congress
d. Yahoo! Groups
* From "Checking In" (chapter 12):
15. Which exhibition represented a preservation "Turing Test" to see if re-created works conveyed the same experience as their originals?
a. Short Century, Museum Villa Stuck, 2001
b. Seeing Double, Guggenheim Museum, 2004
c. Collection in Context, Studio Museum of Harlem, 2002
d. Documenta 11, Kassel, 2002
________________
ANSWERS
1. a
2. b
3. a
4. d
5. c
6. b
7. d
8. d
9. a
10. d
11. d
12. c
13. b
14. b
15. b
(Thanks to Dragan Espenschied for helping to word the Nyquist-Shannon question!)
_______________________________________________
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SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
jon
________________
New Media Preservation quiz
Based on the book Re-collection (http://re-collection.net)
* From "The Lost and the Saved" (chapter 1):
1. Which of the following is the shortest-term preservation strategy for digital media?
a. Storage
b. Migration
c. Emulation
d. Reinterpretation
* From "New Media and Social Memory" (chapter 2):
2. What does Pixar consider the most important version of Toy Story to preserve?
a. The celluloid print
b. The 3d data
c. The negative
d. The written script
*From "Death by Technology" (chapter 3):
3. Which of the following is *least* vulnerable to the obsolescence of locative media?
a. Manifest.AR, Not Here (augmented reality)
b. Richard Serra, Tilted Arc (site-specific sculpture)
c. Janet Cardiff, The Telephone Call (recorded museum tour)
d. Jodi.org, GeoGoo (Google Maps hack)
4. Which was the shortest lifespan of a genre of new media art due to obsolescence?
a. 25 years (movies on VHS)
b. 20 years (VR on Silicon Graphics)
c. 12 years (interfaces in Macromedia/Adobe Flash)
d. 11 months (HTML animation in Netscape 1.1s)
5. What technological upgrade in 2009 drove the biggest nail in the coffin of 20th-century installations based on broadcast television, such as Nam June Paik's TV Crown?
a. The Blu-ray disc
b. 1080p displays
c. The digital TV signal
d. Netflix
* From "Variability Machines" (chapter 4):
6. Which critic argued that art should not be variable but "at all times wholly manifest"?
a. Walter Benjamin
b. Michael Fried
c. Rosalind Krauss
d. Steve Ballmer
* From "Metadata and the Historic Record" (chapter 5):
7. Which preservation standard is the metadata schema MANS (Media Art Notation System) is based on?
a. CMCM (Capturing Unstable Media Conceptual Model)
b. Matters in Media Art
c. PANIC (Preservation Architecture for New media and Interactive Collections)
d. VMQ (Variable Media Questionnaire)
* From "Death by Institution" (chapter 6):
8. Which is the best search engine for searching across database-driven collections online?
a. Google
b. Yahoo
c. Bing
d. There isn't one.
* From "The Open Museum" (chapter 7):
9. When recording an analog source to digital audio in CD quality, what frequencies will be contained in this recording, according to the Nyquist-Shannon theorem?
a. Up to half the sample rate (up to 22.05 kHz)
b. Up to the sample rate (up to 44.1 kHz)
c. Up to double the sample rate (up to 88.2 kHz)
d. You can't create digital audio from samples
* From "Generation Emulation" (chapter 8):
10. What can a chip-level emulator like Virtual PC for Windows run?
a. Operating systems, like Windows 95
b. Applications, like Microsoft Word or Photoshop
c. Handmade code, like an artist's website
d. Anything that originally ran on the Intel x86 chip.
11. Which of the following environments was *not* a case study of the multi-institutional initiative "Preserving Virtual Worlds"?
a. Spacewar
b. Civilization
c. Second Life
d. Flappy Bird
* From "Death by Law" (chapter 9):
12. Which US law makes it illegal to circumvent Digital Rights Management (DRM), even if there is no company left holding the rights?
a. Stop Online Piracy Act (SOPA)
b. Protect Intellectual Property Act (PIPA)
c. Digital Millennium Copyright Act (DMCA)
d. Combatting Online Infringement and Counterfeits Act (COICA)
* From "Unreliable Archivists" (chapter 10):
13. Why do Amazon stories of human encounters with the Mapinguary demonstrate that oral culture can outlive stone records?
a. The Mapinguary is a timeless fictional character.
b. The Mapinguary has been extinct for tens of thousands of years.
c. Drawings of the Mapinguary have been found on prehistoric animal skins.
d. Drawings of the Mapinguary inscribed in stone were lost when the Lima museum burned down.
* From "Variable Organisms" (chapter 11):
14. Which of these can store 700 terabytes?
a. 10,000 Blu-ray discs
b. One gram of DNA
c. The print collection of the Library of Congress
d. Yahoo! Groups
* From "Checking In" (chapter 12):
15. Which exhibition represented a preservation "Turing Test" to see if re-created works conveyed the same experience as their originals?
a. Short Century, Museum Villa Stuck, 2001
b. Seeing Double, Guggenheim Museum, 2004
c. Collection in Context, Studio Museum of Harlem, 2002
d. Documenta 11, Kassel, 2002
________________
ANSWERS
1. a
2. b
3. a
4. d
5. c
6. b
7. d
8. d
9. a
10. d
11. d
12. c
13. b
14. b
15. b
(Thanks to Dragan Espenschied for helping to word the Nyquist-Shannon question!)
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Monday, July 14, 2014
Re: [Yasmin_discussions] Oral culture and new media WAS: Re: ART, NEW MEDIA, AND SOCIAL MEMORY
Hi Annick!
> what you are describing is very important.
> To me it resemble a myth building process (which then, at some point, does not
> need to be true, false, real or imaginary, but mixes all this)
I would much prefer for legends to exist about for example internet art than
having to introduce it over and over again.
> What is important in what you describe is the *now* (useful or not, sometimes
> just trendy, if trendy is useful, then it is ok ;-)
> The problem is that you don't build history on the *now*, it has to last for
> some time (time-based art, hey!).
> I would like to believe that this strategy will last beyond the *now* both in
> terms of what can be used to "surprise somebody" (by definition can happen only
> once) and in terms of platforms (how long Tumblr will last ?).
>
> As you write, history is a mere side-effect. I suspect Jon, Richard, Roger, and
> others would like it to be more long lasting ;-)
Oh, well, I don't know how it will work out. But I am certain that there will be
more images of Geocities around on the Internet in 20 years than of material
presented on archival websites.
In this year's Webby Awards awards ceremony, one of the screenshots was used in
a introduction video. Without attribution or whatever other information, but it
made it there.
Of course tumblr will cease to exist sooner or later, it is not the platform
with the most spreading impact. But then I can create new material and feed it
to another system. Maybe snapchat. :)
With the project Animated GIF Model, Olia Lialina and me learned that the
copying of images works over many years, spanning different platforms and
publishing styles.
Bests,
Dragan
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> what you are describing is very important.
> To me it resemble a myth building process (which then, at some point, does not
> need to be true, false, real or imaginary, but mixes all this)
I would much prefer for legends to exist about for example internet art than
having to introduce it over and over again.
> What is important in what you describe is the *now* (useful or not, sometimes
> just trendy, if trendy is useful, then it is ok ;-)
> The problem is that you don't build history on the *now*, it has to last for
> some time (time-based art, hey!).
> I would like to believe that this strategy will last beyond the *now* both in
> terms of what can be used to "surprise somebody" (by definition can happen only
> once) and in terms of platforms (how long Tumblr will last ?).
>
> As you write, history is a mere side-effect. I suspect Jon, Richard, Roger, and
> others would like it to be more long lasting ;-)
Oh, well, I don't know how it will work out. But I am certain that there will be
more images of Geocities around on the Internet in 20 years than of material
presented on archival websites.
In this year's Webby Awards awards ceremony, one of the screenshots was used in
a introduction video. Without attribution or whatever other information, but it
made it there.
Of course tumblr will cease to exist sooner or later, it is not the platform
with the most spreading impact. But then I can create new material and feed it
to another system. Maybe snapchat. :)
With the project Animated GIF Model, Olia Lialina and me learned that the
copying of images works over many years, spanning different platforms and
publishing styles.
Bests,
Dragan
_______________________________________________
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[Yasmin_discussions] Your Moderator for this week
Dear Yasminers, I am Houssine SOUSSI from Agadir Morocco and I am your moderator
for this week.
Just a reminder to new members of yasmin, it would be great if you could send a brief post to the list introducing yourself and your interests relevant to art and science in the mediterranean region.
I would also like to encourage you to participate in the ongoing Yasmin discussion about the preservation and conservation of digital artworks.
Thank you
Houssine SOUSSI
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TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
for this week.
Just a reminder to new members of yasmin, it would be great if you could send a brief post to the list introducing yourself and your interests relevant to art and science in the mediterranean region.
I would also like to encourage you to participate in the ongoing Yasmin discussion about the preservation and conservation of digital artworks.
Thank you
Houssine SOUSSI
_______________________________________________
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Sunday, July 13, 2014
[Yasmin_discussions] re-collecting
Yasminers
a few protocol items:
- there are several posts in the queue- please be patient as we approve
a few posts a day so it may take 24 hours for your post to appear
- if you have the patience- delete from your post before sending the
history of posts so your post only includes the post you are responding to
- you can follow the discussion on http://yasminlist.blogspot.com/ rather than
get the mailman emails
- the list only accepts text-not attachements or images
roger malina
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TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
a few protocol items:
- there are several posts in the queue- please be patient as we approve
a few posts a day so it may take 24 hours for your post to appear
- if you have the patience- delete from your post before sending the
history of posts so your post only includes the post you are responding to
- you can follow the discussion on http://yasminlist.blogspot.com/ rather than
get the mailman emails
- the list only accepts text-not attachements or images
roger malina
_______________________________________________
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Yasmin_discussions@estia.media.uoa.gr
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Yasmin URL: http://www.media.uoa.gr/yasmin
SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
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