final report
In the last few months I have finalized my research report resulting in the research report which can be downloaded here. Also, for the Netherlands Institute for Sound and Vision, that so generously hosted me as an embedded researcher, I wrote a policy recommendation that is also available here (in Dutch only). I would like … Continue reading
work(flow) in progress
In working with fuzzy sets (see earlier post) there is a “priority at the operational level (…) to interpolate a workable mandate from the vague charge. (…) Issues of intent must be explored, but from an action-oriented perspective (Lerner and Wanat, 502).” This is why I have made an attempt to come up with a … Continue reading
The interactive presentation of heritage materials
Browsing endless amounts of historical audio-visual material is not exactly music for the millions. To draw attention to their assets, cultural heritage institutions have to constantly look for ways to tell the stories that are hidden in their collections. Translate them into forms that are accessible, on present day technology that can get the attention … Continue reading
Archiving for historians: what do they want?
One of the (important) user groups of audio-visual archives are of course historians. In recent conferences and publications of the last few years I’ve noticed that there seem to be conflicting interests among scholars about what is needed from archives. Karel Dibbets, a Dutch film historian, for example wrote an article in which he regretfully … Continue reading
Sources for studying the history of the Internet
The other day, I read a pretty great internship report (in dutch) in which a student researched the history of VPRO Digitaal. VPRO (a dutch public broadcaster) was one of the early adapters among the public broadcasters. As early as 1994 they had an attic filled with young ambitious technologically savvy people. In the early … Continue reading
Archiving interactives @ CD-rom hackathon
It wasn’t uncommon for experimental artists in the 90’s to use interactive CD-roms as a medium for their art. These are now part of several collections, both private and institutional. At the time CD-roms were approached as stable data carriers, but we know now that they too are subject to software and hardware obsolesence and … Continue reading
interactives: a fuzzy set in a post-broadcasting era
“Workaday life under a fuzzy set charge is life in the fast lane.” (Lerner and Wanat,1983: 504-505) Complex digital objects, net-art, born-digital art, variable media, ephemeral work, new media art, occurent art, behaviourist art, time-based media art, interactives… A random selection of terms that refer to similar or overlapping phenomena, each portraying their own strengths … Continue reading
Technological hardware preservation
Technological preservation is one of the preservation methods that is available to heritage institutions. It comes down to storing both the AV-production itself, as well as the technological infrastructure on which it was originally shown. In the case of the works here discussed this would not only include the hardware; computers, screens, controllers, etc. but … Continue reading
The lack of a body of works
Two months into the research project and one aspect has ‘failed’. One of the goals I set myself was to come up with a body of interactive works based on which observations could be made about the technical variety, the genres that are represented and which analytical tools could be developed. The criteria I came … Continue reading
Interactives: changing authorship in the digital age?
In the midst of what seems a perpetual period of Kuhnian crisis science (during which more questions than answers accumulate) I would like to share a part of the process. In my previous post I ended with the question whether artists’ intent or the reception of an audience should be the perspective taken when documenting … Continue reading
Archiving Interactives 