Digital art through the looking glass New strategies for archiving, collecting and preserving in digital humanities

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	FINAL_Introduction_c
	Ch1_FINAL
		Early New Media Art.
		The search for originality in technological art and its challenges for preservation
		Georg Nees & Harold Cohen:
		Re:tracing the origins of digital media
		Keywords
		Media, digital
		Georg Nees
		Harold Cohen
		Nees, Cohen, media
		The medium was the message
		Acknowledgement
		References
		George Legrady
		Abstract
		Keywords
		From analog to digital
		Transitioning to digital: Truevision Targa System (1986)
		Early projects (1987-1991)
		Conclusion
		References
		Introduction
		The 1960s is a unique period, not only in its political, social or economic significance, but as the decade when Media Art emerged. It was the year 1968 when social protests began to spread out at US universities’ campuses through youth and feminist m...
		In that period and in that historical context, two automatic technologies of the image reached the market: the Personal Computer and Portapack video camera. In light of the 1960s countercultural movements, a group of pioneering and experimental artist...
		In the United States, pioneering artist Sonia Landy Sheridan got involved in the creation of posters for the democratic convention together with her students and discovered the photocopy machine as the perfect tool for the creation and distribution of...
		[...] In the early sixties, artists began to work with copy machines, whether located in offices or installed in public places. For these artists, copiers were truly ‘found media’, personal discoveries uncovered in setting not previously recognized as...
		N'ima Leveton, an engraver from San Francisco, produced her first series of prints on a coin machine she found in a neighbourhood supermarket. In 1964, Barbara Smith rented a Xerox 914 photocopy machine that was installed in her dining room; it was us...
		Although digital technologies were established in the 1980s, these analogue and electronic tools answered to new creative needs which reflected some of the changes that were taking place in economic, social and political fields and predicted many of M...
		Of these experimental techniques, especially those practices relating to the computer and the photocopy machine have been kept in different places, establishing their own spaces for exhibitions, workshops and even archives or collections. Following th...
		Although most researchers have spent a substantial amount of time using and fixing copy machines at some point in their career, few have considered the machine´s epistemological, aesthetic, political, and social impacts in their research. (2016: 8)
		In the case of the photocopy machine as an originally electric and later digital technology, it had a number of technical and functional features as well as restrictions that made it unique for creative use by becoming its graphic language. But one of...
		When the photocopy machine made art
		Historical milestones in the context of media art
		Conclusion
		Acknowledgments
		References
		Abstract
		Keywords
		Introduction
		“anarchive”
		Why does it take so long to produce each project?
		Obsolescence and updating
		Augmented books
	Ch2_FINAL
		Introduction (by Wendy Coones and Oliver Grau)
		Panelist introduction
		Panelist statements
		Panel discussion
		Audience question & answer
	Ch3_FINAL
		Keywords
		Dear colleague,
			Before Making
			While Making
			After Making
			Dealing with a Collector
			Final Notes
			Version 0.9.1
		References
		Abstract
		Keywords
		A tension between light and dark, or heavy and light
		Circulation
		Networked co-archiving
		Embracing unpredictability and the indeterminate
		References
		Abstract
		Keywords
		Digital art as original
		The problem of preservation in archive theory
		Historicizing digital art
		Originality: Artistic intention as archival source
		Alternative methods of storage, access and (re-)usability
		Conclusion
		References
	Ch4_FINAL2
		Abstract
		Keywords
		Research context and literature
		Videosonata: A case study from REWINDItalia
		Doppelgänger Redux: Re-enacting an early video performance under the eyes of an audience.
		Conclusion
		References
		This case study was developed without the help of any public or private institution, collection or program, as part of the personal research of the author in the technical conservation of digital artworks. The artist David Rokeby, who kindly helped du...
		Description of the artwork
		Methodology
		Visual Generator
		It has a high aesthetic impact (visual representation of the artwork)
		Original images are available and can be used.
		Semantic Generator
		Re-creation process
		 Regarding the logical level, following implementation was chosen:
		References
		Brandi, C. 2008. Teoría de la Restauración. Madrid: Alianza Editorial.
		Image references
		Unless otherwise stated, copyright of all images is owned by the author of this article.
	Ch5_FINAL
		Redesigning Rare Japanese Books in the Digital Age: Design of the Narrative Book Collection
		This paper introduces Narrative Book Collection—a unique model of digital exhibition for pre-modern Japanese books that explores computational and visualization approaches to create a new book reading experience in the digital age. Narrative Book Coll...
			The transformation of books
			Introducing the Narrative Book Collection
			Research outline
		Foundations
			Books as cultural artifacts
			Digitization of rare japanese books
			The concept of close reading and distant reading
			1.
			2.
			Story, storytelling and narrative
			Setting the stage to FutureLearn
		Design of the Narrative Book Collection
			Overview
			Pilot research on FutureLearn
			Learner attributes
			Developing the course
			Conducting the course
			Analyzing the course
			1.2
			2.2
			2.2
				Qualitative approach
			Results and findings
			Design goals
			Design process of the Narrative Book Collection
			Initial design
				Results and findings
					Summary
			Refined design
				Design Process
					(a) Story formation
					(b) Data generation
					Since the 1st course run, 105 titles—264 digitized images—were accessible in high-resolution images and 95 titles were available on the prototype. However, many of the digitized books did not contain enough bibliographic records and not all books were...
					(c) Story-driven data analysis
					Figure  3.4. Main features in the first and second iteration.
					(d) Narrative visualization
				Bookshelf View
				Book View
			Implementing the Narrative Book Collection
				Expected pathways
		Proof of concept
			Research setting
			Learner attributes
			Table  4.1: Learner Attributes (4th course run)
			Evaluation—Quantitative approach
				Access to Bookshelf View
				Access to Book View
				Encouraged to re-join the course
			Evaluation—Qualitative approach
				Results and findings
			Concept proof
		Summary
		Conclusions
			Discussion
			Contribution
		References
		Keywords
		Abstract
		Keywords
		Introduction
		Context, Tate and the collection
		The artworks
		The artwork’s lifecycle in the museum
		Preservation and preservation strategies
			Defining significant properties and risks
			Analysis
			Storage
			Intervention—Migration, emulation and anything else that helps
			Documentation
		Developing best practices
		References
		Image References
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