By David England, Thecla Schiphorst, Nick Bryan-Kinns

ISBN-10: 3319287206

ISBN-13: 9783319287201

ISBN-10: 3319287222

ISBN-13: 9783319287225

This e-book combines paintings from curators, electronic artists, human desktop interplay researchers and machine scientists to ascertain the mutual advantages and demanding situations posed while operating jointly to help electronic paintings works of their many kinds. In Curating the Digital we discover how we will be able to interact to create space for paintings and interplay. we glance on the numerous demanding situations akin to the dynamic nature of our media, the issues posed in retaining electronic paintings works and the thorny difficulties of ways we investigate and degree audience’s reactions to interactive electronic paintings.

Curating the Digital is an final result of a multi-disciplinary workshop that happened at SICHI2014 in Toronto. The individuals from the workshop mirrored at the subject matter of Curating the electronic through a chain of shows and quick prototyping routines to enhance a listing for the longer term electronic artwork gallery. the implications produce a number of insights either round the conception and philosophy of curating electronic works, and likewise round the sensible and technical chances and demanding situations. We current those complimentary chapters in order that different researchers and practitioners in similar fields will locate motivation and mind's eye for his or her personal work.

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Being copied can prevent data degradation and transcoding makes the source material (data) functionable in the most up to date format. Beginning to understand this task alone was proving too difficult and its extent would become an unenviable task. This NEoN archive project would also form the basis of a larger ambition to look at digital heritage. Once we had the foundations of a digital archive we intended to develop a bigger collecting strategy and look at helping other organisations and artists consider their digital legacy, using the knowledge we had gained.

The realisation was that we would need multiple approaches and perspectives to draw upon. Through our investigation we discovered a spectrum of approaches; from the individual to the institutional, from the practical to the philosophical. It became clear that it we needed to design a more flexible framework to reference and work within. 26 C. Brennan and D. 4 No Longer Standard The preservation of our digital assets can no longer rely on standard archiving formats but neither can we design absolute frameworks for archiving digital material.

The Ottawa Art Gallery exhibition thelivingeffect brought together works of media art and traditional practice in order to interrogate aliveness in silicon and carbon-based lifeforms. Norman White’s term for paying homage to living things anchors thelivingeffect and its particular approach to liveliness. S. Langill and L. Muller More Beginnings. Held at the Brooklyn Museum of Art, it ran in parallel to Pontus Hulten’s The Machine in the Mechanical Age at the Museum of Modern Art. First Tighten up on the Drum is an early example of cellular automata and as such is not necessarily an emulation of carbon-based life.

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Curating the Digital: Space for Art and Interaction by David England, Thecla Schiphorst, Nick Bryan-Kinns


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