與談人ATTENDEE

  • 陳禹先

    陳禹先

    現任香港西九文化區M+當代視覺藝術博物館擔任數位與媒體藝術之助理修復師,研究興趣集中在新媒體藝術作品保存對過去文化資產保存原則的範式轉移。2018年在第46屆AIC年會發表其碩士論文「數位文化資產的保存-以國立臺灣美術館新媒體藝術典藏品為例」。於國立臺灣美術館典藏管理組擔任專案助理期間,負責該美術館新媒體藝術典藏保存與維護工作,2017年執行國立臺灣美術館之新版線上典藏品查詢網站專案。畢業於國立雲林科技大學數位媒體設計系,爾後於國立台南藝術大學獲得博物館與古物維護碩士學位。2015年共同組織並執行了臺灣第一個新媒體藝術保護研討會,名為“集新求變-新媒體藝術典藏保存與維護國際研討會”,邀請國外研究人員和從業人員參加。 2014年,於阿姆斯特丹Mediamatic擔任CD-ROM檔案實習生。

  • 林子荃

    林子荃

    現旅居德國進修數位與媒體藝術保存維護,及媒體藝術相關機構訪問。曾任臺北數位藝術中心技術組組員(2018.07-12)及國立臺灣美術館典藏管理組專案助理。畢業於臺灣藝術大學新媒體藝術碩士班,其學習背景為錄像藝術、新媒體藝術創作,2015年進入國美館典藏管理組任職,開始接觸新媒體藝術的保存與維修護,同時以身為藝術家經驗的角度介入其中,從作品的數位創作媒材分析,規劃擬定作品的保存及維修護策略。2015年於國美館共同主辦「集新求變-新媒體藝術作品典藏保存與維護國際研討會」。近期研究專注於運用開源軟體(open source software)作為修復新媒體藝術作品的方法與技術,及其優勢及其可能產生的風險。2018年美國AIC以海報形式發表,2017年於文化資產保存年會發表《探討使用Open Source 軟體作為修復工具維護新媒體藝術藏品:以國美館藏品-袁廣鳴〈難眠的理由〉為例》。

  • Annet Dekker

    Annet Dekker

    現任荷蘭阿姆斯特丹大學媒體研究學系檔案與資訊學助理教授、英國倫敦南岸大學網路圖像研究中心 (CSNI) 訪問教授暨共同負責人。曾任鹿特丹的皮特茲瓦特學院講師、Foundation for Art and Public Domain (SKOR) 網路策展人等職務。2014年完成英國倫敦大學金匠學院網路藝術博士學位。

    Annet Dekker [http://aaaan.net] is an independent researcher/curator. Currently she is Assistant Professor Media Studies: Archival and Information Studies at the University of Amsterdam and Visiting Professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. Previously she worked as a tutor at Piet Zwart Institute, Rotterdam (2010-16), as web curator for SKOR (2010–12), was programme manager at Virtueel Platform (2008–10), and head of exhibitions, education and artists-in-residence at the Netherlands Media Art Institute (1999–2008). In 2014, she completed her PhD on a conservation of net art at Goldsmiths University of London.

科技藝術典藏 Annet Dekker - 「收藏網路藝術-探索常規之外的保存途徑」作者導讀 / Collecting and Conserving Net Art - Moving Beyond Conventional Methods

概念美術館官方頻道

發佈日期: 2019年7月2日
瀏覽次數: 668

所有註解

概念美術館官方頻道
[42:11] 至 [46:03]

MYCELIUM NETWORK SOCIETY

MYCELIUM NETWORK SOCIETY is a brand new network initiative from INFOLAB at Stadtwerkstatt (Linz, Austria) and CycleX (Andes, New York).

http://myceliumns.net/

回覆2月前
按 Enter 送出
    概念美術館官方頻道
    [42:11] 至 [46:03]

    菌絲網絡社會(弗朗茲·薩韋爾+太郎+馬丁·豪斯+鄭淑麗+全球網絡節點)

    菌絲網絡社會(MNS)是一項藝術家集體計畫。菌絲體是真菌細胞線狀網絡的總稱,負責分享和處理訊息,菌絲網絡社會專門研究其獨特能力。此集體計畫在2017年於柏林新媒體藝術節首次登場,2018年開始邀請另類藝術空間和生物駭客實驗室加盟成為菌絲網絡中的節點,舉辦研究菌絲體、真菌、孢子的研討會,以及駐點計畫和展覽。此後,各國的居民利用菌絲體結構相互連結,發展可持續溝通的管道,建構政治策略,對抗經濟崩潰。該網絡目前在法、英、美三國共有六個節點,最近在臺灣新增四個節點。

    菌絲網絡社會為台北雙年展製作了一個大型菌絲網絡模型,展示其傳遞訊息的能力和與其他根類、植物共生的行為。該裝置以真菌產生的棒麴黴素(Patulin)分子結構為原型,由十七個長有靈芝菌絲體的透明壓克力原子和特製的感應器、發射器、接收器所組成。這些電子設備偵測到活體菌絲原子內的物質變化後,透過無線電頻率傳輸訊息;訊息被空間化並轉化為可在裝置中體驗的聲音,靈芝看起來就像和無線電菌絲體進行交叉孢子萌發般,變出一個想像的科技有機網絡。

    此計畫在台北雙年展的開幕之夜進行「菌絲無線電啟動」,由十七位臺灣的聲音藝術家以表演回應並強化作品裡的菌絲生物電傳輸。

    https://www.taipeibiennial.org/2018/information/70

    回覆2月前
    按 Enter 送出
      概念美術館官方頻道
      [38:37] 至 [41:13]

      Matthew Fuller

      Matthew Fuller is a writer, artist and Professor of Cultural Studies at the Department of Media, Communications and Cultural Studies at Goldsmiths, University of London. He is known for his writings in media theory, software studies, cultural studies, and contemporary fiction. Until September 2006, he was responsible for the Media Design Research programme at Piet Zwart Institute along with Femke Snelting, and worked as Course Director for the Media Design programme. He has collaborated with a number of art collectives, including I/O/D (as a member), Mongrel, MediaShed, and The Container Project. He lives in London. (2019)

      https://monoskop.org/Matthew_Fuller

      https://www.gold.ac.uk/media-communications/staff/m-fuller/

      回覆2月前
      按 Enter 送出
        概念美術館官方頻道
        [37:08] 至 [38:46]

        鄭淑麗 (Shu Lea Cheang)Brandon(1998-1999)

        In 1993 Brandon Teena (born Teena Renae Brandon), a young transgender man, was raped and murdered in Nebraska when it was discovered that he was anatomically female. Shu Lea Cheang’s 1998 work Brandon is a multifaceted web project that uses the nonlinear and participatory nature of the Internet as a means to explore and illuminate Brandon Teena’s tragic story. From the opening image of morphing gender signifiers, Cheang propels the viewer into a probing investigation of human sexuality. It is an inquiry that utilizes hyperlinked images of a disembodied human form, once-live chat rooms on the subject of crime and punishment, and graphic moving images in order to illuminate the wide-reaching effect of Brandon’s life and death. Exploiting the highly mutable “skin” of the Internet, Cheang reveals how this emerging virtual environment enables individuals to inhabit and play with different gender roles and characters. A prime example of “cyberfeminism,” Brandon utilizes technology as a means to break down social assumptions about gender in both the realm of technology and in society at large.

        https://www.guggenheim.org/artwork/15337

        回覆2月前
        按 Enter 送出
          概念美術館官方頻道
          [37:08] 至 [42:20]

          鄭淑麗 (Shu Lea Cheang)Brandon(1998-1999)

          BRANDON derives its title from Brandon/Teena Brandon of Nebraska, USA, agender-crossing individual who was raped and murdered in 1993 after his female anatomy was revealed. Cheang's project deploys Brandon into cyberspace through multi-layered narratives and images whose trajectory leads to issues of crime and punishment in the cross-section between real and virtual space. Conceived as a multi-artist / multi-author / multi-institutional collaboration, BRANDON will unfold over the course of the coming year, with 4 interface developed (1996-1997) for artists' participation and public intervention.

          http://brandon.guggenheim.org/

          回覆2月前
          按 Enter 送出
            概念美術館官方頻道
            [35:30] 至 [37:17]

            Annemarie Mol (2002) "The Body Multiple: Ontology in Medical Practice"

            The Body Multiple is an extraordinary ethnography of an ordinary disease. Drawing on fieldwork in a Dutch university hospital, Annemarie Mol looks at the day-to-day diagnosis and treatment of atherosclerosis. A patient information leaflet might describe atherosclerosis as the gradual obstruction of the arteries, but in hospital practice this one medical condition appears to be many other things. From one moment, place, apparatus, specialty, or treatment, to the next, a slightly different “atherosclerosis” is being discussed, measured, observed, or stripped away. This multiplicity does not imply fragmentation; instead, the disease is made to cohere through a range of tactics including transporting forms and files, making images, holding case conferences, and conducting doctor-patient conversations.

            https://www.dukeupress.edu/the-body-multiple

            回覆2月前
            按 Enter 送出
              概念美術館官方頻道
              [35:30] 至 [37:17]

              The Body Multiple 書評 (版主:王文基)

              這本書是作者在荷蘭某家醫院進行民族誌的紀錄,她民族製的研究對象是動脈血管硬化,尤其是週邊四肢的血管為主,她參與了血管外科醫師的門診、會議討論、手術過程,並且到病理科以及血液科的實驗室也進行參與觀察。

              https://book.douban.com/review/4182049/

              回覆2月前
              按 Enter 送出
                概念美術館官方頻道
                [33:39] 至 [34:41]

                Vivian van Saaze

                Associate Professor,
                Literature & Art, Faculty of Arts and Social Sciences,
                Maastricht University (UM),
                Netherlands.

                https://www.maastrichtuniversity.nl/vivian.vansaaze

                回覆2月前
                按 Enter 送出
                  概念美術館官方頻道
                  [32:14] 至 [34:14]

                  Yuk Hui and Harry Halpin (2013) "Collective Individuation: The Future of the Social Web"

                  回覆2月前
                  按 Enter 送出
                    概念美術館官方頻道
                    [30:14] 至 [32:32]

                    “Digital Culture is Mass Culture”: An interview with Digital Conservator Dragan Espenschied

                    At the intersection of digital preservation, art conservation and folklore you can find many of Dragan Espenschied’s projects. After receiving feedback and input from Dragan for a recent post on interfaces to digital collections and geocities I heard that he is now stepping into the role of digital conservator at Rhizome. To that end, I’m excited to talk with him as part of our ongoing NDSA innovation group’s Insights interview series about some of his projects and perspectives and his new role as a digital conservator.

                    https://blogs.loc.gov/thesignal/2014/03/digital-culture-is-mass-culture-an-interview-with-digital-conservator-dragan-espenschied/

                    回覆2月前
                    按 Enter 送出
                      概念美術館官方頻道
                      [26:18] 至 [30:14]

                      Jason Scott’s Archive Team’s site

                      "Geocities arrived in roughly 1995, and was, for hundreds of thousands of people, their first experience with the idea of a webpage, of a full-colour, completely controlled presentation on anything they wanted. For some people, their potential audience was greater for them than for anyone in the entire history of their genetic line. It was, to these people, breathtaking."

                      http://ascii.textfiles.com/archives/3029

                      回覆2月前
                      按 Enter 送出
                        概念美術館官方頻道
                        [23:01] 至 [29:11]

                        Kathleen Fitzpatrick (2011) Planned Obsolescence: Publishing, Technology, and the Future of the Academy

                        Academic institutions are facing a crisis in scholarly publishing at multiple levels: presses are stressed as never before, library budgets are squeezed, faculty are having difficulty publishing their work, and promotion and tenure committees are facing a range of new ways of working without a clear sense of how to understand and evaluate them.

                        Planned Obsolescence is both a provocation to think more broadly about the academy’s future and an argument for reconceiving that future in more communally-oriented ways. Facing these issues head-on, Kathleen Fitzpatrick focuses on the technological changes—especially greater utilization of internet publication technologies, including digital archives, social networking tools, and multimedia—necessary to allow academic publishing to thrive into the future. But she goes further, insisting that the key issues that must be addressed are social and institutional in origin.

                        Springing from original research as well as Fitzpatrick’s own hands-on experiments in new modes of scholarly communication through MediaCommons, the digital scholarly network she co-founded, Planned Obsolescence explores these aspects of scholarly work, as well as issues surrounding the preservation of digital scholarship and the place of publishing within the structure of the contemporary university. Written in an approachable style designed to bring administrators and scholars into a conversation, Planned Obsolescence explores both symptom and cure to ensure that scholarly communication will remain relevant in the digital future.

                        https://nyupress.org/9780814727881/planned-obsolescence/

                        回覆2月前
                        按 Enter 送出
                          概念美術館官方頻道
                          [21:28] 至 [26:40]

                          HOW TO BE PINK AND CONCEPTUAL AT THE SAME TIME: A conversation between Martine Neddam and Annet Dekker

                          回覆2月前
                          按 Enter 送出
                            概念美術館官方頻道
                            [21:10] 至 [25:29]

                            Wendy Hui Kyong Chun (2008). The Enduring Ephemeral, or the Future Is a Memory. Critical Inquiry, 35(1), 148-171.

                            回覆2月前
                            按 Enter 送出
                              概念美術館官方頻道
                              [21:10] 至 [25:29]

                              Wendy Chun: The Enduring Ephemeral, Or The Future Is A Memory

                              回覆2月前
                              按 Enter 送出
                                概念美術館官方頻道
                                [19:19] 至 [21:10]

                                "mouchette.org"

                                回覆2月前
                                按 Enter 送出
                                  概念美術館官方頻道
                                  [18:03] 至 [20:30]

                                  Tadhg Kelly, "Why Pro-Amateurs are the Future" (2012)

                                  The fact that professional makers are feeling under threat is not news. There are calls for tax breaks for game makers and novelists, scrambling efforts to lock down (or at least shut up) the Web through legislation. There is even Rupert Murdoch, once champion of anti-establishmentarian ideals of publishing, tweeting about why a search engine and mass theft are supposedly the same thing.

                                  They have good reason to feel threatened. The Great Recession has accelerated the process of deconstruction. Nobody wants to invest in professional art in a time when we’ve started to use the word “trillion” in everyday conversations about national debts. Add to this the chorus of devaluation that digital distribution has wrought in all creative fields, the largely hazy arguments surrounding piracy, and cultural trends toward lionizing the past (great for back catalogue sales, not so much for new artists).

                                  https://www.gamesbrief.com/2012/01/why-pro-amateurs-are-the-future/

                                  回覆2月前
                                  按 Enter 送出
                                    概念美術館官方頻道
                                    [16:12] 至 [19:05]

                                    Olia Lialina, Summer 2013

                                    回覆2月前
                                    按 Enter 送出
                                      概念美術館官方頻道
                                      [12:11] 至 [17:14]

                                      YOUTUBE AS A SUBJECT: Interview with Constant Dullaart

                                      Constant Dullaart (the Netherlands, 1979) is a visual artist who ironically explores new modes of imagining and using the internet as a medium. His research is focused on the contemporary language of images and re-contextualizing material found on the Web. For him, the Web is a space, a landscape, a world to investigate in all its various parts, from the ‘default’ style of the platform, to its contents, and its popularity and widespread use. His works are widely discussed online and have been shown internationally. Having participated in 2009 at Video Vortex #5 in Brussels where he presented on his artistic practice that uses online video, this interview connects the ideas presented there through focusing particularly on his series ‘YouTube as a Subject’. Taking his work on the image of the YouTube play button as a point of departure, the conversation reflects on the social theories of Marshall McLuhan, perceptions of artwork on the YouTube platform, questions regarding the position of the artist, the relationship between online and physical spaces, and the interaction of the audience in the era of the ‘participatory culture’ of the Net.

                                      https://networkcultures.org/videovortex/2010/09/02/youtube-as-a-subject-interview-with-constant-dullaart/

                                      回覆2月前
                                      按 Enter 送出
                                        概念美術館官方頻道
                                        [09:22] 至 [14:25]

                                        http://art.teleportacia.org/olia/summer/

                                        回覆2月前
                                        按 Enter 送出
                                          概念美術館官方頻道
                                          [08:37] 至 [12:37]

                                          Annet Dekker (2020) "Collecting and Conserving Net Art: Moving beyond Conventional Methods"

                                          Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies.

                                          Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes.

                                          Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.

                                          https://www.routledge.com/Collecting-and-Conserving-Net-Art-Moving-beyond-Conventional-Methods/Dekker/p/book/9780367491420

                                          回覆2月前
                                          按 Enter 送出
                                            概念美術館官方頻道
                                            [03:03] 至 [06:50]

                                            Annet Dekker, "Collecting and Conserving Net Art: Moving beyond Conventional Methods"

                                            Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies.

                                            Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes.

                                            Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.

                                            https://www.routledge.com/Collecting-and-Conserving-Net-Art-Moving-beyond-Conventional-Methods/Dekker/p/book/9780367491420

                                            回覆2月前
                                            按 Enter 送出
                                              概念美術館官方頻道
                                              [00:00] 至 [05:07]

                                              科技藝術典藏 系列講座四:「收藏網路藝術-探索常規之外的保存途徑」作者導讀

                                              概念美術館官方頻道刪除[00:00:00] 至 [01:03:57]
                                              科技藝術典藏 系列講座四:「收藏網路藝術-探索常規之外的保存途徑」作者導讀
                                              https://www.facebook.com/events/354083558643635/

                                              2018下半年度,數位藝術基金會舉辦「科技藝術典藏基礎計畫(Save Media Art)」三場科技藝術典藏系列講座,以計畫主持人陳禹先、林子荃兩位長期研究與關注經驗,自美術館典藏管理事務的田野經驗中,分享永續典藏科技藝術作品所面臨的問題及介紹國際上較盛行的理論實務。

                                              2019年7月,奠基於前三場講座,邀請三位國際研究人員:Aneet Dekker、Jonathan Farbowitz、Emma Dickson,與陳禹先、林子荃進行兼具理論與實務角度的跨國對談,以網路藝術研究者、時基藝術修復師的眼界,與台灣觀眾分享他們行走於網路藝術保存與維護一途上的經驗。

                                              https://dac.tw/currentlecture/savemediaart-talk4/

                                              回覆2月前
                                              按 Enter 送出
                                                概念美術館官方頻道
                                                [00:00] 至 [00:00]

                                                This chapter is informed by research conducted as part of the network Collecting the Performative: A Research Network Examining Emerging Practice for Collecting and Conserving Performance-based Art (2012–13). This interdisciplinary network draws on a range of practitioners, academics, artists and professionals to examine emerging models for the conservation and documentation of artists’ performance, drawing upon the practices of dance, theatre and activism in order to identify parallels in the concept of a work and related notions of authorship, authenticity, autonomy, documentation, memory, continuity and liveness. It examines the conceptual and practical challenges related to collecting and conserving artists’ performance.

                                                https://www.incca.org/articles/collecting-performance-based-art-new-challenges-and-shirting-perspectives-2014

                                                https://www.academia.edu/20762297/Collecting_Performance-Based_Art_New_Challenges_and_Shifting_Perspectives

                                                回覆2月前
                                                按 Enter 送出
                                                  Uploading...Please Wait