Thursday, 15 September, 2011 – 09:00 – 10:30
This panel presents a digital art archives investigation highlighting the use of intelligent systems applications in conservation, retrieval, indexing or access forms related to the artistic object manipulation. The main goal of the discussion is to define parameters for non linear systems on the new media art information treatment. The principles for an intelligent machine and friendly interface to archives ambiance is still a theory. However, the application of this concept on current platforms is a healthy mechanism of transition from linear and semantic structures to a symbolic, non linear and fuzzy logic system.
Machines do not have the cognitive development of humans. They do not develop consciousness or intentionality predicates yet. Nowadays, the intelligent machine applications aren’t separated from human acts. These non linear systems and relations work as a fractal complement for research and knowledge. Memory is considered not only by the previous content indexed on the archive, but also by the interlocutor’s actions and perceptions.
To discuss museology, database systems, data visualization, artistic process and other themes by the lens of the memory, this panel focuses on documentation tools and concepts to understand the artificial intelligence applicability in electronic and digital art conservation.
The panel proponent FILE electronic language international festival is a nonprofit cultural organization that promotes a reflection on the main issues in the contemporary electronic-digital global context, always keeping a transdisciplinary vision in the cultural manifestations complexity of our time. The FILE initiative of documentation occurs since its first edition, in 2000. Alternative tactics are used to keep the archive updated with different platforms to cover all its contents. Mechanisms of transition to intelligent systems arise as a solution to FILE Archive documentation and access. Creating opportunities for discussions in this area and share with other initiatives such as ISEA event will contribute to enlarge the digital conservation knowledge.
by Gabriela Orth
The paper “Contemporary information paradigms: the reordered memory on FILE Archive structures” leads the discussions that increase the perceptions about the heterogeneous content of digital art memory, highlighting the FILE electronic language international festival Archive, under the perspective of intelligent systems. With an Information Science theoretical approach and considering new practices in the area, the study will raise perspectives in using these expert structures, considering the recent goals to develop a new FILE Archive environment.
by Nick Hasty
The paper “Sustainable preservation practices and the Rhizome ArtBase” is a case study prepared to detail the recent overhaul of the Rhizome ArtBase. Founded in 1999, the Rhizome ArtBase is an online archive of new media art containing around 2508 art works, and growing. The ArtBase encompasses a vast range of projects by artists from all over the world that employ materials such as software, codes, websites, moving images, games and browsers to aesthetics and critical ends.
The paper is an overview of the challenges, decisions, and technologies behind the new Rhizome Archive, as well as a roadmap for its future.
Out of Line? Archiving Internet Art Off-Line
by Timothy Murray
The Rose Goldsen Archive of New Media Art, in the Cornell University Library, has engaged in an aggressive program of producing and archiving internet art. In my presentation, I will rehearse challenges faced by the Archive in producing the internet art journal, CTHEORY Multimedia, which published finished pieces of internet art, often requiring the freezing on open data sets for the purposes of publishing and archiving. Compromises made in the production of internet art, for the sake of providing data sets that would be equally available to various browsers helped to shape the archivist’s curatorial philosophy in archiving both CTHEORY Multimedia and other large repository’s of internet art, particularly Computerfinearts.com and Turbulence.org. To be discussed with the pros and cons of the curatorial decision to archive large sets of internet art off-line, providing a stable backup and onset data set for otherwise economically unstable hosts of internet art. In considering whether off-line archiving is artistically “out of line,” I will cite the precedent of an off-line net art exhibition that I curated with Teo Spiller in Slovenia, INFOS 2000, in which we circulated internet art on CD-Rom to users and independent media centers whose economic position precluded access to high bandwith internet service. In this case the curatorial decision was a political one, more flexible platforms for greater access. How does these artistic and political paradigms shift in the case of onsite curating and preservation of large collections of internet art?
by Jon Ippolito
You can’t save the spirit of a new media work by fixing it in time or place, anymore than you can save a life of a butterfly by pinning it to a wall. Animated beings persevere not by stasis but by mutation and replication, so this talk explores such “proliferative preservation” as a strategy for preserving the notoriously mercurial artifacts of new media. The current state of proliferative preservation includes such models as the Variable Media Questionnaire; the future may hold more speculative evolutionary paradigms such as algorithmic and ecological archives. Generally considered a culprit in the destruction of traditional human artifacts, nature may end up serving as the inspiration for such new automated paradigms for the perseverance of culture. Yet, as successful as genetic algorithms have been in preserving the petaBytes of information stored in the DNA of living creatures, harnessing genetic algorithms to propagate human artifacts would breed a new host of ethical questions about authenticity and responsibility.
Bios of the Participants
Nick Hasty is an artist, programmer, writer & musician. He currently serves as Director of Technology for Rhizome, where he reengineered the site’s archive of New Media Art, the ArtBase, and the entire site as a whole. He recently collaborated with Ryan Trecartin in building the user-generated video art platform riverthe.net, and plays drums and electronics in the Brooklyn-based band Source of Yellow. He received a B.A. in English Literature from the University of Georgia, and holds a Master’s degree from NYU’s Interactive Telecommunications Program in the Tisch School of the Arts.
Gabriela Previdello Orth
Gabriela Previdello Orth lives and works in São Paulo, Brazil. Graduated in Fine Arts, she developed her work in art direction, producing different events and art exhibitions, including some FILE electronic language international festivals. Nowadays, as FILE Archive Coordinator she is contributing to a revision on the information organization project of this ambiance. Gabriela is a Information Science graduate student at ECA, School of Communication and Arts of USP –University of São Paulo, researching digital art memory, with emphasis on intelligent structures.
Timothy Murray is Director of the Society for the Humanities, Professor of Comparative Literature and English, and Curator of the Rose Goldsen Archive of New Media Art (http://goldsen.library.cornell.edu/), at Cornell University. He is co-moderator of the -empyre-soft-skinned space (http://www.subtle.net/empyre/), new media listserv and the author of Digital Baroque: New Media Art and Cinematic Folds (Minnesota 2008); Zonas de Contacto: el arte en CD-ROM (Centro de la imagen, 1999); Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art (Routledge, 1997); Like a Film: Ideological Fantasy on Screen, Camera and Canvas (Routledge, 1993); Theatrical Legitimation: Allegories of Genius in XVIIth-Century England and France (Oxford, 1987). He is editor of Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Thought (Michigan, 1997) and, with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture (Minnesota, 1997). His curatorial projects include CTHEORY MULTIMEDIA (http://ctheorymultimedia.cornell.edu/) and Contact Zones: The Art of the CD-Rom (http://contactzones.cit.cornell.edu/).
Jon Ippolito, the recipient of Tiffany, Lannan, and American Foundation awards, Jon Ippolito exhibited artwork with collaborative teammates Janet Cohen and Keith Frank at venues such as the Walker Art Center and ZKM/Center for Art and Media Karlsruhe. As Associate Curator of Media Arts at the Guggenheim Museum, he curated Virtual Reality: An Emerging Medium and, with John G. Hanhardt, The Worlds of Nam June Paik. Ippolito’s critical writing has appeared in periodicals ranging from Flash Art and the Art Journal to the Washington Post. At the Still Water lab co-founded with Joline Blais, Ippolito has been at work on three projects–the Variable Media Network, ThoughtMesh, and the book At the Edge of Art–that aim to expand the art world beyond its traditional confines.
Paula Perissinotto is an artist specializing in electronic language. She has a Masters of Visual Poetry by ECA, School of Communication and Arts at University of Sao Paulo, and a Masters of Curatorial and Cultural Practices in Art and New Media at MECAD / ESDI in Barcelona. In 2000 she co-founded the FILE Electronic Language International [http://www.file.org.br], a non-governmental and nonprofit cultural organization that promotes and encourages aesthetic, cultural, and scientific studies related to digital culture. For the last 12 years, she has directed FILE Festival, an international cultural platform to boost production and bring visibility to the cultural development of art and technology in Brazil. In 2010 Perissinotto launched the Multimedia production course at the European Design Institute in Sao Paulo.