[-empyre-] Fw: other preservation resoruces - Crumb discussion

["-empyre-owner" <empyre-owner@gamera.cofa.unsw.edu.au>]

More detail on the Crumb discussion:

Crumb February Theme of the Month: Conserving New Media Art
Subscribe at:
<http://www.jiscmail.ac.uk/lists/new-media-curating.html>

The issues for conserving new media art have begun to be
thoroughly
address by projects and publications* including the Variable
Media
Project, and V2's Capturing Unstable Media. What is the
current state
of the art of conserving new media, and how is it dealing
with newer
technologies such as mobile or locative media?

* Depocas, Alain, and Jon Ippolito, Caitlin Jones (eds.)
(2003)
Permanence Through Change: The Variable Media Approach. New
York:
Guggenheim Museum. Also available from URL:
<http://www.variablemedia.net/e/preserving/html/var_pub_inde
x.html>.


Invited Respondents:

Alain Depocas is Director of the Centre for Research and
Documentation
(CR+D) of The Daniel Langlois Foundation. In this capacity,
he is in
charge of a documentary collection covering the history,
works and
practices associated with the media, electronic and digital
arts.
<http://www.fondation-langlois.org>
<http://www.horizonzero.ca/textsite/ghost.php?tlang=0&is=18&;
file=7>

Sandra Fauconnier works as a media archivist for V2_ in
Rotterdam (NL).
Her research interests include metadata and ontologies for
media art,
copyright, social software, and capturing and preserving
electronic
art. http://archive.v2.nl/
http://www.v2.nl/Projects/capturing/

Tina Fiske, History of Art Department, University of
Glasgow.

Oliver Grau, Database of Virtual Art, Humboldt University,
Berlin.

Francis Hwang is a writer, artist, and software engineer.
Since 2002,
he has been Director of Technology at Rhizome.org.

Caitlin Jones holds a combined research position in both the
Curatorial
and Conservation departments at the Solomon R. Guggenheim
Museum.  With
a background in Art History and Archival Studies she
originally worked
in conjunction with the Daniel Langlois Foundation for Art,
Science,
and Technology as the Langlois Fellow for Variable Media
Preservation.

Pip Laurenson, researcher.

Kevin McGarry is Content Coordinator of Rhizome.org, a
writer and artist
living in New York.

Peter Ride, CARTE Centre for Arts Research Technology and
Education,
University of Westminster.

Richard Rinehart is an artist, Director of Digital Media at
the
Berkeley Art Museum/Pacific Film Archive, and coordinates
the
NEA-funded "Archiving the Avant-Garde: Preserving Digital /
Media Art"
http://www.bampfa.berkeley.edu/ciao/avant_garde.html.

Jill Sterrett, Director of Collections and Conservation, San
Francisco
Museum of Modern Art. Collaborated recently with Tate, MoMA,
and the
New Art Trust to create a preservation tool for the care of
time-based
media
<http://www.tate.org.uk/research/tateresearch/majorprojects/
mediamatters>

Keith Whittle is Online Projects/Media Co-ordinator at Film
and Video
Umbrella, a leading agency for the commissioning and
production of
artists'
film and video and new media work. In April 2005 he will
take up a
Research Fellowship post at the University of Sunderland.

Alena Williams is a Ph.D. Candidate in the Department of Art
History
and Archaeology at Columbia University. From 2001-2003, she
was the
ArtBase Coordinator at Rhizome.org.



------------------------------------------------------------
-------

Beryl Graham, Senior Research Fellow, New Media Art
School of Arts, Design, Media and Culture, University of
Sunderland
Tel: +44 191 515 2896    beryl.graham@sunderland.ac.uk

CRUMB web resource for new media art curators
http://www.crumbweb.org