Re: [-empyre-] (forwarded from Jaka Zeleznikar) Ana Maria Uribe
Dear Timothy -
Sorry to be late in this post, but I had saved articles by you on my hard drive and
I wanted to find them before I wrote!
I particuarly liked *Digital Incompossibility: Cruising The Aesthetic Haze Of The
New Media* - and have followed the creation and growth of The Rose Goldsen Archive
for a couple of years.
You are doing exceptional work with this difficult task - and I look forward to
discussing this in depth with you -
Always, Margie Luesebrink
timothy murray wrote:
> >Dear Marjorie,
>
> Thanks for your summary of PAD. I hadn't heard an update of this
> project for some time. Thought you'd like to know that the aim of
> The Rose Goldsen Archive of New Media Art, which I curate in the
> Cornell University Library, is to create a critical mass of new media
> art for the sake of working on problems of preservation, migration,
> etc. Thanks to Regina, Ana Maria had sent some work to the Archive
> (but I don't have those files with me now so can't say which).
>
> In the year since we began the Archive, we've collected some 400
> pieces of new media art, from CD-Rom, DVD, digital video to internet
> art. We're also working with a number of internet art sites to
> archive their collections off-line for the sake of future
> preservation.
>
> The key to all of this will be future migration and access. I'd been
> in touch with Bill Warner about this a while ago, but it now seems
> like renewed contact with ELO would be wise.
>
> Thanks for your helpful e-mail. Perhaps the Goldsen Archive could be
> a repository for Ana Maria's other work that Jim seems to be putting
> together. I'll be in touch with both of you separately about this.
>
> Best,
>
> Tim
>
> >Dear Regina, Jim, Jaka, all -
> >
> >I have been following the empyre discussions all along with much interest -
> >and, too, was saddened to hear about the death of Ana Maria -
> >but so glad to see an effort by all of her fellow artists to see what can be
> >done about bringing her work together for posterity!
> >
> >Regina and I have had some discussions about Preservation and Archiving -
> >especially in the light of the wonderful Project Attic (Regina and Reiner
> >Strasser) - and I want to thank them for keeping the preservation issue in the
> >foreground - it's important for our community to solve this problem in a way
> >that respects the important aspects of our art.
> >
> >As some of you may know, ELO began a project almost two years ago called PAD
> >(Preservation, Archiving, and Dissemination). the PAD project was
> >envisioned as
> >a way to begin the process of saving e-lit and new media work into the future.
> >Much of our early effort was investigation and research by a group of writers,
> >programmers, librarians, scholars, curatorial experts, and publishers to see
> >what practices existed and what needed to be done. Our conclusion was that we
> >needed to build a comprehensive network of libraries and
> >organizations to house
> >the archive (much digital preservation work is being undertaken, but
> >not much of
> >it takes into account the specific demands of multi-media electronic
> >work). We
> >also needed to begin to set up practices to retreive older works
> >and guidelines
> >for future work. Although we had hoped to secure the (sizable) funding to
> >accomplish this all at once, it now looks as though ELO does not
> >have the proper
> >institutional grounding to do this alone - so we are working on
> >sections of the
> >problem, hoping to build a wider network as a basis for support and funding.
> >
> >The process of collecting and curating Ana Maria's work will provide a very
> >important example for all of us. I do hope that one individual who has access
> >to the files and knows the work will take up the task of doing this
> >right away -
> >
> >and I would like to be kept current on how the job proceeds, the kinds of
> >problems that arise, and what solutions are reached. Even if PAD succeeds in
> >establishing a central repository and some sort of emulation system that will
> >allow continued access to older softwares, the initial task of collecting and
> >organizing the work is best attended to by the author or a close associate.
> >
> >Right now, the most important thing is to gather as much work as possible
> >together and begin an archive that includes these features:
> >1. Copies of all electronic works saved on CD ROM (regardless of platform -
> >that may have to be worked out later) -
> >but documented by a word.doc that lets future archivers know what
> >platform, what
> >kind of machine it was meant to run on, etc.
> >2. Any hard copy articles and photos that can be gathered.
> >3. "Reading Experience" documents from readers and/or audiences. (explaining
> >how they reacted to the work)
> >4. Raw data files of text, sound, image that might be associated
> >with the work
> >(these can be critical in "re-building" works).
> >5. Video that might exist of the work on display or being accessed
> >on computer.
> >
> >6. Author's statements or notes about the how and why of a piece.
> >7. Screen shots of each work.
> >
> >In general, museums like to have three copies of all works - so if
> >you can, when
> >you begin to make an archive, save three copies.
> >
> >Just a start here - but I would like to assist in any way possible with the
> >archive that will be constructed for Ana Maria - and help other writers and
> >artists who wish to prepare archives of their work. Noah
> >Wardrip-Fruin and Nick
> >Montfort have written a booklet for PAD outlining some practices for making
> >material accessible longer; this will be released in the next few
> >months, and we
> >would encourage all of you to help us circulate these suggestions!
> >
> >Always, Margie Luesebrink
> >
>
> --
> Timothy Murray
> Professor of Comparative Literature and English
> Director of Graduate Studies in Film and Video
> Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
> Co-Curator, CTHEORY Multimedia: http://ctheorymultimedia.cornell.edu
> 247 Goldwin Smith Hall
> Cornell University
> Ithaca, New York 14853
>
> office: 607-255-4012
> e-mail: tcm1@cornell.edu
timothy murray wrote:
> >Dear Marjorie,
>
> Thanks for your summary of PAD. I hadn't heard an update of this
> project for some time. Thought you'd like to know that the aim of
> The Rose Goldsen Archive of New Media Art, which I curate in the
> Cornell University Library, is to create a critical mass of new media
> art for the sake of working on problems of preservation, migration,
> etc. Thanks to Regina, Ana Maria had sent some work to the Archive
> (but I don't have those files with me now so can't say which).
>
> In the year since we began the Archive, we've collected some 400
> pieces of new media art, from CD-Rom, DVD, digital video to internet
> art. We're also working with a number of internet art sites to
> archive their collections off-line for the sake of future
> preservation.
>
> The key to all of this will be future migration and access. I'd been
> in touch with Bill Warner about this a while ago, but it now seems
> like renewed contact with ELO would be wise.
>
> Thanks for your helpful e-mail. Perhaps the Goldsen Archive could be
> a repository for Ana Maria's other work that Jim seems to be putting
> together. I'll be in touch with both of you separately about this.
>
> Best,
>
> Tim
>
> >Dear Regina, Jim, Jaka, all -
> >
> >I have been following the empyre discussions all along with much interest -
> >and, too, was saddened to hear about the death of Ana Maria -
> >but so glad to see an effort by all of her fellow artists to see what can be
> >done about bringing her work together for posterity!
> >
> >Regina and I have had some discussions about Preservation and Archiving -
> >especially in the light of the wonderful Project Attic (Regina and Reiner
> >Strasser) - and I want to thank them for keeping the preservation issue in the
> >foreground - it's important for our community to solve this problem in a way
> >that respects the important aspects of our art.
> >
> >As some of you may know, ELO began a project almost two years ago called PAD
> >(Preservation, Archiving, and Dissemination). the PAD project was
> >envisioned as
> >a way to begin the process of saving e-lit and new media work into the future.
> >Much of our early effort was investigation and research by a group of writers,
> >programmers, librarians, scholars, curatorial experts, and publishers to see
> >what practices existed and what needed to be done. Our conclusion was that we
> >needed to build a comprehensive network of libraries and
> >organizations to house
> >the archive (much digital preservation work is being undertaken, but
> >not much of
> >it takes into account the specific demands of multi-media electronic
> >work). We
> >also needed to begin to set up practices to retreive older works
> >and guidelines
> >for future work. Although we had hoped to secure the (sizable) funding to
> >accomplish this all at once, it now looks as though ELO does not
> >have the proper
> >institutional grounding to do this alone - so we are working on
> >sections of the
> >problem, hoping to build a wider network as a basis for support and funding.
> >
> >The process of collecting and curating Ana Maria's work will provide a very
> >important example for all of us. I do hope that one individual who has access
> >to the files and knows the work will take up the task of doing this
> >right away -
> >
> >and I would like to be kept current on how the job proceeds, the kinds of
> >problems that arise, and what solutions are reached. Even if PAD succeeds in
> >establishing a central repository and some sort of emulation system that will
> >allow continued access to older softwares, the initial task of collecting and
> >organizing the work is best attended to by the author or a close associate.
> >
> >Right now, the most important thing is to gather as much work as possible
> >together and begin an archive that includes these features:
> >1. Copies of all electronic works saved on CD ROM (regardless of platform -
> >that may have to be worked out later) -
> >but documented by a word.doc that lets future archivers know what
> >platform, what
> >kind of machine it was meant to run on, etc.
> >2. Any hard copy articles and photos that can be gathered.
> >3. "Reading Experience" documents from readers and/or audiences. (explaining
> >how they reacted to the work)
> >4. Raw data files of text, sound, image that might be associated
> >with the work
> >(these can be critical in "re-building" works).
> >5. Video that might exist of the work on display or being accessed
> >on computer.
> >
> >6. Author's statements or notes about the how and why of a piece.
> >7. Screen shots of each work.
> >
> >In general, museums like to have three copies of all works - so if
> >you can, when
> >you begin to make an archive, save three copies.
> >
> >Just a start here - but I would like to assist in any way possible with the
> >archive that will be constructed for Ana Maria - and help other writers and
> >artists who wish to prepare archives of their work. Noah
> >Wardrip-Fruin and Nick
> >Montfort have written a booklet for PAD outlining some practices for making
> >material accessible longer; this will be released in the next few
> >months, and we
> >would encourage all of you to help us circulate these suggestions!
> >
> >Always, Margie Luesebrink
> >
>
> --
> Timothy Murray
> Professor of Comparative Literature and English
> Director of Graduate Studies in Film and Video
> Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
> Co-Curator, CTHEORY Multimedia: http://ctheorymultimedia.cornell.edu
> 247 Goldwin Smith Hall
> Cornell University
> Ithaca, New York 14853
>
> office: 607-255-4012
> e-mail: tcm1@cornell.edu
--
Marjorie Coverley Luesebrink
AKA
M.D. Coverley
Electronic Literature Organization
President, Board of Directors
UCLA Department of Design/Media Arts
11000 Kinross Ave, Suite 245
Box 951456
Los Angeles, CA 90095
310.206.1863
Home Address:
200 Nata
Newport Beach, CA 92660
949.644.6587
portal: <http://califia.hispeed.com>
mailto: <luesebr1@ix.netcom.com>
This archive was generated by a fusion of
Pipermail 0.09 (Mailman edition) and
MHonArc 2.6.8.