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
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
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
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
Documentation as a preservation strategy
So far I have found that the work that is being done in the arts, linked to the institutional context of museums, is most relevant and most advanced. Documentation is often seen as a conservation strategy for interactive content that is both necessary and the very least that we can do at present, when other … Continue reading
Relevance of archiving interactives
For those involved in the long-term conservation of audio-visual content the questions here discussed might seem evident. For those who have yet to be convinced I would like to provide some contextual information. For decades archives for audio-visual material have dealt with what we could call ‘discrete objects’, they are isolated products that translate into … Continue reading
Archiving Interactives 