The 20th century in particular has witnessed the greatest explosion of new materials for artistic experimentation.Ĭelluloid, analog video, early mainframe computers, networks, robotics, the personal computer, the world wide web – you name it. Artists created works with these tools as soon as they could get their hands on them – be it by sneaking into a video post-production house after hours, or by private corporations sharing the wealth through artists residencies (for instance, Bell Labs). The year I am writing this, 2016, marks the 50th anniversary of Experiments in Art and Technology (EAT), a Robert Rauschenberg and Billy Kluver founded organization established to develop collaborations between artists and engineers. Computer Music pioneer, Laurie Spiegel, in her studio. Photo credit: Enrico Ferorelli Co-organized by New Museum Education and Rhizome in conjunction with “XFR STN.While fifty years is young for an artistic medium, during that time, we have seen technologies come and go making artworks created with these tools and formats oftentimes inaccessible, obsolete and impossible to recover all with drastic stakes. It will tackle issues such as format obsolescence, media migration, and digital preservation, to confront their frames of possibility. This one-day symposium will examine current challenges of the Digital Dark Age as it applies to digital artworks, electronic literature and time-based media. At MoMA, he oversees the Digital Repository for Museum Collections, and advises on the collection and preservation of digital artworks and design objects-including the recently acquired video games. At Rhizome, Fino-Radin leads the preservation and curation of the ArtBase, one of the oldest and most comprehensive collections of born-digital works of art. He is in practice at Rhizome at the New Museum, as well as at MoMA’s Department of Conservation. He is currently at work on his next book, Track Changes: Authorship, Archives, and Literary Culture After Word Processing.īen Fino-Radin is a New York–based media archaeologist and conservator of born-digital and computer-based works of contemporary art. His first book, Mechanisms: New Media and the Forensic Imagination, was published by the MIT Press in early 2008. A 2011 Guggenheim Fellow, Kirschenbaum specializes in digital humanities, electronic literature and creative new media (including games), textual studies, and postmodern/experimental literature. Kirschenbaum is Associate Professor in the Department of English at the University of Maryland and Associate Director of the Maryland Institute for Technology in the Humanities (MITH, an applied think tank for the digital humanities). In addition to directing the Media Archaeology Lab, she is also currently working on two book projects: a monograph, Reading Writing Interfaces: From the Digital to the Bookbound (forthcoming from University of Minnesota Press, spring 2014), and The Johns Hopkins Guide to Digital Media, coedited with Marie-Laure Ryan and Benjamin Robertson (forthcoming 2014). She writes on and teaches digital literature, experimental American and Canadian writing from the twentieth and twenty-first century, history of computing, and media theory.
Lori Emerson is an Assistant Professor in the Department of English at the University of Colorado at Boulder. Schwartz has also investigated the computer’s uses for art analysis and restoration.
On her own, and with leading scientists, engineers, physicists, and psychologists, she developed effective techniques for the use of the computer in film and animation. Watson Research Laboratory, and at Lucent Technologies Bell Labs Innovations. Her complex kinetic sculpture Proxima Centauri was included in the 1968 MoMA exhibition “The Machine as Seen at the End of the Mechanical Age.” Subsequently, she worked as a consultant at AT&T Bell Laboratories, IBM’s Thomas J. In 1966, she became a member of the Experiments in Art and Technology Group, which fostered collaborations between artists and technologists. Organized by Rhizome, a New Museum affiliate.Īrtist Lillian Schwartz began working with technological media in the mid-1960s with projects that included electronic mobiles and lightboxes containing moving fluid. Moderated by Ben Fino-Radin, Digital Conservator, Rhizome. Participants include digital humanities scholars Matthew Kirschenbaum and Lori Emerson, and computer art pioneer Lillian Schwartz.
This panel brings together artists and leading figures in the digital preservation field for a discussion on the theory and practice of preserving the fragile cultural artifacts and artworks of the computer age.
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