Re: [-empyre-] (forwarded from Jaka Zeleznikar) Ana Maria Uribe

["Marjorie C. Luesebrink" <luesebr1@ix.netcom.com>]

Dear Jim, Regina, all -

It's very fine, Jim, that you will be collecting and curating Ana Maria's work -
and the idea of setting up an e-mail group to use the community as an archiving
resource is excellent! [This is one that I will add to our ELO/PAD suggestions
for preservation strategies!]
I am going to join the e-mail list so that I can watch this process in action.
the fact that Ana Maria has a long history of work, that it exists in several
different media forms, and that much of it might be scattered among her admirers
who have saved bits and pieces makes this a challenging and important job.

It is my hope that not only will our community (through various networks of
libraries and repositories, including the Cornell archive that Tim Murray is
directing) be able to assemble significant collections of authors for immediate
access - but that we will also be able to take steps to preserve these for
audiences years in the future -

Always, Margie

As soon as Noah Wardrip-Fruin and Nick Montfort have released their Acid-Free
Bits booklet, a set of suggestions about preservation practices, I will let the
empyre folks know how to get copies!

Jim Andrews wrote:

> > 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.
>
> Hi Marjorie,
>
> Thank you for your valuable suggestions concerning the nature of archives.
>
> Diego Uribe, Ana Maria's brother, is going to go through her files and make
> a CD. If Regina's Attic is current, three CDs would be capable of holding
> Ana Maria's hard drive. And I think it is current. With the economic
> collapse of Argentina in 2001, I remember Ana Maria saying that a computer
> would cost somewhere between 5 and 10 times as much as it did before the
> collapse, so I doubt she upgraded her computer after the Attic project. I
> think she mostly spent what money she had on travelling.
>
> It is up to Diego to select what he thinks Ana Maria could tolerate being
> released publicly. She was very careful and sparing with what she released
> publicly, and I suspect Diego will have a good sense of what she could
> tolerate in this regard. I am happy to work with Diego. There has been a
> mirror of Ana Maria's site on my site for some time; our works go together
> quite well. Coincidentally, it was only slightly before I asked her about
> this that she told me she was ill. She agreed and set up the mirror. We do
> not know the login and password to her tripod site, at this time, but it
> will not be hard for me to retrieve any files involved in the few pieces not
> present on the mirror.
>
> So Diego will send me a CD, and this will probably take some time for him to
> put together. I will forward him some of your suggestions concerning what to
> consider.
>
> Perhaps additional to the sorts of concerns you express, I am hoping that
> Diego sees fit to include her 'scratch' graphics and sounds. It would be
> gratifying to be able to include some of Ana Maria's unpublished graphical
> or sound work in my own future work, and I suspect this will resonate with
> others also. Even in one of her last emails she expressed a wish that we be
> able to collaborate in the future.
>
> I remember reading the conceptual artist Joseph Kosuth speculate on the fate
> of his own work. He felt it improbable that much of his actual art objects
> would survive and that it would be more in the practice of living artists in
> how they approached things or didn't approach things, the questions they
> asked or didn't ask, some having been covered. Hard to say. But I suspect
> Ana Maria would like the idea of giving artists the opportunity to use parts
> of her unpublished graphical/sound work in their own work.
>
> Just what form to release this archive in will depend on the size and nature
> of it. Whether on CD or as a zip file or what. I do have a copy of the 2001
> CD she released titled Escaleras y otros Anipoemas. And she published a book
> of her work which I see Regina has a little documentation on at
> http://www.iis.com.br/~regvampi/museu/livros/uribe.htm
>
> As I mentioned, I regard this as a long-term, ongoing project and perhaps it
> will bring those of us who appreciate her work closer to Ana Maria's work,
> in integrating something of Ana Maria into our own work or at least being
> able to see some ways into the process and source of her work.
>
> I have created an email group at http://groups.yahoo.com/group/uribe for
> people who want to participate or otherwise keep track of the progress and
> developments concerning Ana Maria's work, use of her work, writing about her
> work, etc.
>
> Thanks again for your good suggestions, Marjorie, and also to Jaka and
> Regina, Jorge, aLe, and others for raising the important issue of how to
> proceed. I think that having a list will help with the project immensely and
> keep us all informed on what's happening.
>
> ja
>
> _______________________________________________
> empyre forum
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

--
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

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