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  • 陳禹先

    陳禹先

    現於國立台灣美術館典藏組擔任「新媒體藝術典藏保存與維護」專員。畢業於國立臺南藝術大學博物館學與古物維護研究所。曾任職荷蘭 Stichting Mediamatic,擔任數位典藏員。

科技藝術典藏 系列講座二:微觀與巨觀的保存方針到再生

松學校官方頻道

發佈日期: 2018年11月30日
瀏覽次數: 562

所有註解

松學校官方頻道
[01:22:56] 至 [01:26:45]

LIMA: Future Proof Media Art research project

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    松學校官方頻道
    [01:21:50] 至 [01:22:38]

    羅斯科教堂(Rothko Chapel)

    羅斯科教堂雖然名為「教堂」,事實上卻具有教堂以外的多重用途。它是一個磚牆構造的八角型禮拜堂,內藏有羅斯科(Mark Rothko, 1903-1970)的巨幅系列繪畫以及前方倒影池所設置的巴內特‧紐曼(Barnett Newman, 1905-1970)作品《斷碑》(Broken Obelisk)。這座教堂比較像是一個精神的避難所,任何宗教的信徒或是無信仰的人都可以前來,同時這裡也是各式活動的表演場地,除此之外,羅斯科教堂亦是一個展示藝術作品的場所,羅斯科為它量身打造了一系列深沈的繪畫,德曼尼爾則為此地添置了紐曼的雕塑。

    許晏溶,〈非教堂的教堂──羅斯科教堂(Rothko Chapel)的特殊展示形式〉
    http://art.ncu.edu.tw/artConf/main/public/21/pp.107-124%20%E8%A8%B1%E6%99%8F%E6%BA%B6.%20%E9%9D%9E%E6%95%99%E5%A0%82%E7%9A%84%E6%95%99%E5%A0%82.pdf

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      松學校官方頻道
      [01:18:48] 至 [01:20:01]

      張英海重工業(Young-Hae Chang Heavy Industries)

      張英海重工業由南韓藝術家張英海和美國藝術家Marc Voge於1999年成立,二人組以首爾為基地,是1990年代末「互聯網藝術」的先鋒,這種流派後來亦融入更廣泛的當代藝術實踐。張英海重工業一直創作數碼作品,並貫徹其獨特風格之美學:以「Monaco」字體呈現文字為本的動畫,風格狂放,往往還配上由藝術家創作的原創音樂,通常是爵士樂,並與畫面同步。過往他們曾長期以Adobe的Flash動畫軟件製作作品,後來該軟件日漸淘汰,他們轉而探索其他類似的工具。他們大部分作品都在網站yhchang.com公開發表,讓所有人透過互聯網瀏覽體驗。

      〈M+購藏張英海重工業全部舊作新品的來龍去脈〉
      https://stories.mplus.org.hk/tc/blog/yhchi-acquisition/

      延伸閱讀:
      黎家怡,〈『買斷』藝術家所有作品? 談M+購藏『張英海重工業』爭議〉
      https://artouch.com/view/content-77.html

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        松學校官方頻道
        [01:16:45] 至 [01:18:30]

        台灣數位藝術中心:概念美術館

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          松學校官方頻道
          [01:12:37] 至 [01:15:04]

          Glenn Wharton, "Artist intention and the conservation of contemporary art"

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            松學校官方頻道
            [01:12:12] 至 [01:14:39]

            "The Artist Interview: For conservation and presentation of contemporary art. Guidelines and practice"

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              松學校官方頻道
              [01:11:31] 至 [01:13:00]

              Voices in Contemporary Art (VoCA)

              Voices in Contemporary Art (VoCA) is a non-profit organization that generates critical dialogue and interdisciplinary programming to address the production, presentation, and preservation of contemporary art. Though based in New York City, VoCA is a mobile organization, partnering with institutions both nationally and across the globe to develop knowledge via its major program streams: VoCA Talks, VoCA Journal, and VoCA Workshops.

              https://voca.network/

              VoCA Talks:
              VoCA Talks is a series of public programs featuring artists and their collaborators in conversation about the challenges and rewards inherent in making, showing, and preserving contemporary art.

              https://voca.network/programs/voca-talks/

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                松學校官方頻道
                [01:09:36] 至 [01:11:29]

                LIMA: Future Proof Media Art research project

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                  松學校官方頻道
                  [01:06:34] 至 [01:09:34]

                  Variable Media Questionnaire

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                    松學校官方頻道
                    [58:52] 至 [01:04:20]

                    Richard Rinehart & Jon Ippolito, "Re-collection: Art, New Media, and Social Memory"

                    Re-collection: Art, New Media, and Social Memory is the first academic book on new media preservation. Its authors make a startling claim: that the historical record of our era will be unretrievable without a drastic change in the technologies, institutions, and laws that now govern cultural preservation. Weaving theory into practice, Re-collection spells out much-needed, real-world approaches to preservation along with their theoretical foundations and implications.

                    Written by two internationally acknowledged trailblazers in the field, Re-collection includes extensive case-studies of specific digital and media art works in the collections of museums and collectors that have been the focus of experimentation and research by the authors and their colleagues directly in the preservation effort.

                    http://re-collection.net/

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                      松學校官方頻道
                      [58:35] 至 [01:05:51]

                      Richard Rinehart

                      Richard is Director of the Samek Art Museum at Bucknell University.

                      From 1994-2011, Richard was Digital Media Director & Adjunct Curator at the UC Berkeley Art Museum. He also served as curator for many years at New Langton Arts and for the San Jose Arts Commission. He has juried for the Rockefeller Foundation, Rhizome.org, and others. Richard has over a decade of experience teaching courses on art and new media at UC Berkeley, UC Santa Cruz, the San Francisco Art Institute and elsewhere. He has lead NEA and NEH-funded national research projects on new media, art, preservation, and museums and he is currently working on a book for MIT Press on preserving digital culture. He served on the boards of the Berkeley Center for New Media, New Langton Arts, and the Museum Computer Network.

                      Specialties: new media, art, digital art preservation, intellectual property and digital art, museum and cultural heritage metadata standards, open culture

                      https://www.linkedin.com/in/richard-rinehart-b6317a3

                      官網:http://www.coyoteyip.com/rinehart/home.html

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                        松學校官方頻道
                        [46:21] 至 [51:33]

                        Small Data Industries

                        Small Data Industries is a lab and consultancy whose mission is to safeguard the permanence and integrity of the world’s artistic record, by supporting and empowering people. We provide consulting, strategy, and preservation services to a broad spectrum of art world stakeholders in the areas of time-based media art conservation, archival stewardship, preservation strategy, digital preservation infrastructure, and inventory and asset management systems. Our diverse and international list of clients includes institutions, art collectors, galleries, artist studios, and artist estates. Day-to-day activities—whether onsite at our Brooklyn headquarters, or on-location with clients—can include conservation treatment and documentation of an artwork, a strategy meeting with a museum executive, a coaching session with a team, developing a roadmap for implementing digital preservation on a shoestring budget for an emerging artist’s studio, or research of emerging technologies being employed by artists.

                        https://smalldata.industries/

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                          松學校官方頻道
                          [46:21] 至 [48:07]

                          Ben Fino-Radin

                          Founder, Lead Conservator of Small Data Industries.
                          Ben founded Small Data Industries out of a desire to bring the expertise and capabilities of the world’s best museums to the broader art world ecosystem.

                          https://www.benfinoradin.info/

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                            松學校官方頻道
                            [36:10] 至 [37:06]

                            郭奕臣,〈入侵北美館〉(2004)

                            北美館典藏網:
                            https://www.tfam.museum/Collection/CollectionDetail.aspx?CID=4592&ddlLang=zh-tw

                            Youtube 錄影片段:
                            https://www.youtube.com/watch?v=CbvaoYKSIfI

                            秦雅君,〈作者的未完成—從郭奕臣的《入侵北美館》與《失訊》談起〉
                            http://www.itpark.com.tw/people/essays_data/118/644

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                              松學校官方頻道
                              [35:46] 至 [46:03]

                              The Media Conservation Lab, Guggenheim Museum

                              The Media Conservation Lab, part of the Guggenheim’s Conservation Department, provides the technical infrastructure to examine equipment and historic and contemporary media formats.

                              https://www.guggenheim.org/conservation/time-based-media

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                                松學校官方頻道
                                [33:09] 至 [35:44]

                                Matters in Media Art

                                Matters in Media Art is an information resource on the care of media art. Launched in 2005, this collaborative project between the New Art Trust (NAT) and its partner museums – the Museum of Modern Art (MoMA), the San Francisco Museum of Modern Art (SFMOMA) and Tate – has been designed to help those who collect and keep media artworks (e.g. video, film, audio and software-based installations).

                                Conceived originally as a consensus building project for the three partner museums of the NAT, the enduring goal has been to affirm our commitment to media art and artists by developing shared practices for the works’ care and preservation. It has always been the consortium’s hope that if the three museums could come together to agree on emerging stewardship practices, then by sharing these practices online they would be used, improved upon and refined by larger audiences of artists and collectors.

                                http://mattersinmediaart.org/

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                                  松學校官方頻道
                                  [30:24] 至 [35:44]

                                  Media Conservation Initiative

                                  This is a project currently taking place at The Museum of Modern Art that seeks to advance new strategies in the field of time-based media art preservation and care. During this five-year program, we will host several postgraduate fellowships, workshops, and expert discussion meetings (referred to as peer forums) devoted to media art conservation. We will share resources on this site as they become available; please check back often.
                                  The Media Conservation Initiative at MoMA is made possible through generous support from The Andrew W. Mellon Foundation.

                                  https://www.mediaconservation.io/#intro

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                                    松學校官方頻道
                                    [30:15] 至 [35:44]

                                    MoMA 現代藝術博物館 修復團隊(Museum of Modern Art) Conservation

                                    The David Booth Conservation Center and Department is responsible for the preservation of The Museum of Modern Art’s collection. The department was established in 1958 in response to a fire at the Museum and was initially devoted to painting conservation. Since then, the department has grown to include staff and facilities dedicated to preserving works on paper, sculpture and objects, photography, and time-based media. The department also houses a scientific research section devoted to both study of the collection and development of new materials for conservation. Films are stored and conserved at the Celeste Bartos Film Preservation Center.

                                    The Conservation department also advises on environmental controls and needs, special exhibitions, and travel, packing, and installation requirements. These activities form an overall preventative program, which seeks to maintain the collection for future generations. Conservators and scientists in the department are actively involved in scholarly research related to exhibitions and collections at the Museum.

                                    https://www.moma.org/collection/about/conservation/

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                                      松學校官方頻道
                                      [25:35] 至 [30:14]

                                      Jonathan Farbowitz, (Electronic Media) Archiving Computer-based Artworks

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                                        松學校官方頻道
                                        [25:35] 至 [30:14]

                                        Jonathan Farbowitz, Fellow in the Conservation of Computer-based Art, Solomon R. Guggenheim Museum

                                        Jonathan Farbowitz, Fellow in the Conservation of Computer-based Art, assists the Guggenheim’s Conservation department in addressing the preservation needs of computer-based works in the Guggenheim’s collection. He also supports the development of best practices for collecting these kinds of artworks. He most recently participated in the restoration of Shu Lea Cheang’s web artwork Brandon (1998–1999). Farbowitz holds an MA in Moving Archiving and Preservation from New York University as well as a BA from Vassar College and has previous experience in software development and testing.

                                        https://aics46thannualmeeting2018.sched.com/speaker/jonathanfarbowitz

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                                          松學校官方頻道
                                          [23:23] 至 [25:41]

                                          Eddy Colloton, Conservator of Hirshhorn Museum and Sculpture Garden

                                          Eddy Colloton received his MA degree from the Moving Image Archiving and Preservation program at New York University. Eddy has performed a collection assessment of pioneering video artist Paul Ryan's archive, developed a digital preservation workflow for the conservation department of the Denver Art Museum, and completed his thesis on conceptual artist Buky Schwartz, the research for which has informed his presentation for AIC. Before embarking on graduate studies Eddy was a founding member of the Time Based Media department at the Los Angeles County Museum of Art.

                                          https://aics46thannualmeeting2018.sched.com/speaker/ecolloton

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                                            松學校官方頻道
                                            [23:23] 至 [25:41]

                                            Kate Moomaw, Conservator of Denver Art Museum

                                            Kate Moomaw trained in objects and modern materials at the Conservation Center of the Institute of Fine Arts at New York University, graduating in 2007. She has completed a graduate internship at the Stedelijk Museum in Amsterdam and postgraduate fellowships at the Tate in London, the Metropolitan Museum of Art in New York, and the Hirshhorn Museum and Sculpture Garden in Washington, DC. Since 2011, she has been the Assistant Conservator for Modern and Contemporary Art at the Denver Art Museum in Denver, Colorado, where she focuses on the conservation of modern and contemporary objects, variable media, and outdoor sculpture.

                                            https://aics46thannualmeeting2018.sched.com/speaker/katemoomaw

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                                              松學校官方頻道
                                              [21:27] 至 [23:13]

                                              史密森尼學會(Smithsonian Institution)

                                              史密森尼學會(Smithsonian Institution)是美國一系列博物館和研究機構的集合組織,其地位大致相當於其他國家的國家博物館系統。

                                              https://zh.wikipedia.org/wiki/%E5%8F%B2%E5%AF%86%E6%A3%AE%E5%B0%BC%E5%AD%A6%E4%BC%9A

                                              官網:https://www.si.edu/

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                                                松學校官方頻道
                                                [18:18] 至 [21:26]

                                                格倫·惠爾頓(Glenn Wharton), "Materiality and Immateriality in Conserving Contemporary Art"

                                                Glenn Wharton is a Clinical Professor in Museum Studies at New York University. From 2007-2013 he served as Media Conservator at the Museum of Modern Art, where he established the time-based media conservation program for video, performance, and software-based collections.

                                                https://aics46thannualmeeting2018.sched.com/event/Cz4m/materiality-and-immateriality-in-conserving-contemporary-art

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                                                  松學校官方頻道
                                                  [18:01] 至 [34:05]

                                                  2018 AIC's 46th Annual Meeting: Material Matters

                                                  Place: Marriott Marquis Houston in Houston, Texas
                                                  Date: May 29 – June 2, 2018.

                                                  https://www.iiconservation.org/node/7105

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                                                    松學校官方頻道
                                                    [16:47] 至 [18:41]

                                                    AIC (美國歷史文化資產與藝術作品保存協會)

                                                    The American Institute for Conservation (AIC) is the leading membership association for current and aspiring conservators and allied professionals who preserve cultural heritage.

                                                    We represent more than 3,500 individuals in more than forty countries around the world working in the domains of science, art, and history through treatment, research, collections care, education, and more. All of them have the same goal: preserve our cultural heritage so we can learn from it today and appreciate it in the future.

                                                    https://www.culturalheritage.org/

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                                                      [13:41] 至 [24:38]

                                                      有點搞不懂

                                                      請問這些槓槓條條是差在哪

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                                                        松學校官方頻道
                                                        [12:31] 至 [16:45]

                                                        概念美術館 Vol.1 | 穿越光牆-Archive or Alive?

                                                        陶亞倫《終結歷史之光》

                                                        https://dac.tw/cmoa/vol-1/

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                                                          松學校官方頻道
                                                          [09:13] 至 [10:26]

                                                          Small Data Industries

                                                          Small Data Industries is a lab and consultancy whose mission is to safeguard the permanence and integrity of the world’s artistic record, by supporting and empowering people.

                                                          https://smalldata.industries/

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                                                            松學校官方頻道
                                                            [06:11] 至 [08:05]

                                                            Richard Rinehart and Jon Ippolito, "Re-collection: Art, New Media, and Social Memory" (2014)

                                                            II. Technology
                                                            Chapter 3: Death by technology
                                                            This chapter examines in-depth case studies from the "endangered species" list of 20th-century culture, ranging from physical installations to digital media to biotech art. A review of these technologically vulnerable artworks underlies the weaknesses of an approach to preservation that is medium-specific.

                                                            http://re-collection.net/

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                                                              松學校官方頻道
                                                              [06:11] 至 [09:11]

                                                              Lev Manovich, "The Language of New Media"

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                                                                松學校官方頻道
                                                                [06:11] 至 [09:11]

                                                                列夫·曼諾維奇(Lev Manovich)

                                                                美國加州大學聖地牙哥分校視覺藝術教授。教授新媒體藝術與理論,同時是一系列新媒體的重要書籍的作者。

                                                                https://zh.wikipedia.org/wiki/%E5%88%97%E5%A4%AB%C2%B7%E6%9B%BC%E8%AB%BE%E7%B6%AD%E5%A5%87

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                                                                  松學校官方頻道
                                                                  [02:45] 至 [03:33]

                                                                  駭客空間(Hackerspace)

                                                                  駭客空間(Hackerspace)或黑客空間,譯自黑客和空間的組合,有的時候也叫作創作空間或創客空間,出自Make Magazine,是一個真的(相對於虛擬)地方,在這裡的人們有相同的興趣,一般是在科學、技術、數碼或電子藝術,人們在這裡聚會,活動和合作。

                                                                  https://zh.wikipedia.org/wiki/%E9%A7%AD%E5%AE%A2%E7%A9%BA%E9%96%93

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                                                                    松學校官方頻道
                                                                    [02:45] 至 [03:33]

                                                                    The Amsterdam hacker spaces & labs

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                                                                      松學校官方頻道
                                                                      [00:00] 至 [00:00]

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                                                                        科技藝術典藏 系列講座二:微觀與巨觀的保存方針到再生

                                                                        https://dac.tw/savemediaart-talk/

                                                                        本系列講座邀請「概念美術館 Vol.1 穿越光牆」策展人暨「科技藝術典藏基礎計畫」團隊成員陳禹先開啟新的討論。陳禹先於自己的碩論中,統計全台指標性美術館共典藏近400件新媒體藝術作品(包含:國美館、北美館、高美館、關美館及DAC(臺北數位藝術中心),統計時間截至2016年6月)。更另以國美館為例,在近200件的新媒體藝術典藏品中,除了錄像藝術,尚有電腦程式、互動裝置、機械動力等再現需求更為複雜的藝術作品。

                                                                        科技藝術作品的創作媒介,往往包含創作時空背景下盛行的科技產品及數位檔案,再加上當今藝術創作越來越多共創式的作品,即使請來藝術家本人,在科技汰換和人事已非的現實情境下,也難以回答這類作品的保存年限和該如何延續其壽命。

                                                                        我們必須思考,這類型作品受美術館典藏,進入公有文化資產的範疇後,它們受到怎樣的對待?如何被保存、維護,甚至修復與再現?

                                                                        在國際少數設有媒體藝術修復部門的機構中,所謂「媒體藝術修復師」(Media Art Conservator)又是什麼樣的角色?

                                                                        此系列講座,將以講者個人經驗和長期研究關注,自美術館典藏管理事務的田野經驗中,分享機構欲永續典藏科技藝術作品所面臨的問題,及當前國際上較盛行的理論實務;並於第二與第三場講座,引用《Re-Collection》一書:Death by Technology, Death by Institution, Death by Law 敘述之三個面向,介紹科技藝術作品典藏失敗的主因,同時提供另一種更適用於新媒體創作媒介的典藏概念。

                                                                        主講:
                                                                        陳禹先,曾於荷蘭擔任CD-ROM Art Archivist、回國後於國美館共同承辦「新媒體藝術典藏保存與維護國際研討會」,其碩士論文以國立臺灣美術術館為例,探討數位科技文化資產的保存與維護,並於今年五月赴美國參加AIC保存年會,發表其研究與工作成果。

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