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》。

  • Jonathan Farbowitz

    Jonathan Farbowitz

    Jonathan Farbowitz,現任美國紐約古根漢美術館修復部門電腦藝術修復助理。曾負責鄭淑麗〈Brandon (1998-1999)〉與小約翰·F·西門〈Unfolding Object (2002)〉等作品的復原工作。擁有美國紐約大學動態檔案與保存學系碩士學位、紐約瓦薩學院學士學位。

    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. Farbowitz has worked on the restorations of Shu Lea Cheang’s Brandon (1998–1999) and John F. Simon Jr.’s Unfolding Object (2002). He 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.

科技藝術典藏【時基媒體藝術修復師的養成】Jonathan Farbowitz / How to become a Time-based Media Conservator - Experience form Jonathan Farbowitz

概念美術館官方頻道

發佈日期: 2019年7月17日
瀏覽次數: 1,186

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概念美術館官方頻道
[42:47] 至 [43:51]

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

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    概念美術館官方頻道
    [42:47] 至 [44:08]

    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/

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      概念美術館官方頻道
      [42:47] 至 [45:25]

      Restoring Brandon, Shu Lea Cheang’s Early Web Artwork

      As a basis for Brandon’s restoration, CCBA research partner Professor Deena Engel and her computer science students Emma Dickson and Jillian Zhong analyzed Brandon’s source code for two semesters. The artwork’s technical composition proved to be exceptionally complex: The original website contains approximately 65,000 lines of code and over 4,500 files, which include a hidden archive of research materials. The web technologies used in Brandon include HTML, Java applets, JavaScript, several programming languages that run on the web server, a MySQL database, and various media formats. In a manner typical for its era, Brandon’s code had been written “by hand,” rather than using automation as is often done today to generate and consistently style web pages.

      https://www.guggenheim.org/blogs/checklist/restoring-brandon-shu-lea-cheangs-early-web-artwork

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        概念美術館官方頻道
        [32:30] 至 [41:31]

        The Conserving Computer-Based Art Initiative (CCBA)

        The Conserving Computer-Based Art initiative (CCBA) is an ongoing, practice-based research project that focuses on the preservation needs of computer-based artworks in the Guggenheim’s collection. The CCBA initiative began in an attempt to address issues like hardware failure, rapid obsolescence, and the lack of established best practices, all of which put computer-based artworks in the collection at high risk. The ultimate goal of the initiative is to save these artworks for future generations to experience.

        The CCBA initiative continually explores innovative research questions related to the care of computer-based artworks in order to catalyze the development of best practices for both collected works and future acquisitions.

        The structure of the initiative involves the museum’s CCBA Fellowship, the ongoing academic-museum collaboration between New York University’s Department of Computer Science and the Guggenheim’s Conservation Department, and the work of the museum’s conservation staff, fellows, and interns.

        The initiative disseminates its findings to the conservation field at large through presentations and publications in an effort to improve practices for handling computer-based art at the Guggenheim and beyond.

        https://www.guggenheim.org/conservation/the-conserving-computer-based-art-initiative

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          概念美術館官方頻道
          [16:02] 至 [18:01]

          John F. Simon Jr. (1999) Color Panel v1.0

          Displayed on a flat-panel computer screen, Color Panel v1.0 is an artwork in the form of a computer program. The software, which John Simon wrote himself, “controls the screen, draws the composition, picks the colors, moves the colors,” producing constantly evolving compositions of squares and rectangles that deliberately evoke early modernist geometric abstraction. Simon cites the influence of Johannes Itten and Josef Albers, teachers at the Bauhaus in Germany in the 1920s and 1930s, who explored the apparent changes in hue caused by placing different colors next to each other. To this phenomenon, Color Panel v1.0 adds the element of time and, crucially, of endless variation: its beginning is variable, and its sequences never repeat, progressing over a time frame that approaches eternity. v1.0 in the title stands for the first version of the software that Simon used to create the work.

          https://whitney.org/collection/works/12273

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            概念美術館官方頻道
            [16:02] 至 [18:01]

            PowerBook Duo

            The PowerBook Duo is a line of small subnotebooks manufactured and sold by Apple Computer from 1992 until 1997 as a more compact companion to the PowerBook line. Improving upon the PowerBook 100's portability (its immediate predecessor and Apple's third-smallest laptop), the Duo came in seven different models. They were the Duo 210, 230, 250, 270c, 280, 280c, and 2300c, with the 210 and 230 being the earliest, and 2300c being the final incarnation before the entire line was dropped in early 1997.

            https://en.wikipedia.org/wiki/PowerBook_Duo

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              概念美術館官方頻道
              [12:51] 至 [16:11]

              Paul Ramírez (2003) Jonas Another Day

              Three television monitors display an endless scroll of data reminiscent of the arrival and departure screens at airports and train stations. Each monitor presents a countdown to the next sunrise in ninety different cities, evenly spaced apart along every fourth meridian. When a sunrise occurs, the city in question disappears from the screen. While the work offers an expression of the passage of time, it also visualizes an expansion of our conception of geography (and, in the context of this exhibition, Latin America) beyond the politically determined borders of region and nation-state.

              https://www.guggenheim.org/artwork/33123

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                概念美術館官方頻道
                [08:56] 至 [12:34]

                The Guggenheim Restores John F. Simon Jr.’s Early Web Artwork “Unfolding Object”

                When artist John F. Simon, Jr. created his web artwork Unfolding Object, in 2002, the internet was still a novel medium for artists to explore. The piece, commissioned by the Guggenheim, enables visitors to create their own individual artwork online by unfolding the pages of a virtual “object”—a two-dimensional multi-faceted structure growing around a center square—click by click. Users can also see the traces of other people who have previously unfolded the same facets, represented by lines or “hash marks.” Depending on the time of day, the colors of the object and the background change, so that two simultaneous users in different time zones are looking at different colors. Also, as commissioning curator Jon Ippolito wrote at the time the piece was created, “Facets that have already been unfolded darken with their distance from the central square, but a facet that has not yet been altered rewards its discoverer with a brightly colored figure untouched by previous markings.”

                https://www.guggenheim.org/blogs/checklist/the-guggenheim-restores-john-f-simon-jr-early-web-artwork-unfolding-object

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                  概念美術館官方頻道
                  [08:56] 至 [12:34]

                  Cory Arcangel (2002) Super Mario Clouds

                  For this video installation, Cory Arcangel “hacked” a cartridge of Super Mario Brothers, the original version of the blockbuster Nintendo video game released in the United States in 1985. By tweaking the game’s code, the artist erased all of the sound and visual elements except the iconic scrolling clouds. On a formal level, the project is reminiscent of paintings that push representation toward abstraction: how many elements can be removed before the ability to discern the source is lost? Arcangel, who was trained in classical music, considers computers and video game consoles his instruments, and insists on mastering them prior to creative exploration; he will often learn a new programming language in order to develop a work. What might be viewed as nostalgia for the popular entertainments of an earlier era depends, in fact, on a rigorous conceptual approach to computer hard- and software as well as a refusal to participate in contemporary culture’s lightning-fast cycle of technological turnover.

                  https://whitney.org/collection/works/20588

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                    概念美術館官方頻道
                    [06:49] 至 [09:05]

                    The Master of Arts degree program in Moving Image Archiving and Preservation (MIAP)

                    The Master of Arts degree program in Moving Image Archiving and Preservation (MIAP) is a two-year, interdisciplinary course of study that trains future professionals to manage and preserve collections of film, video, digital, and multimedia works. MIAP is situated within New York University’s Department of Cinema Studies, part of the Kanbar Institute of Film & Television in the acclaimed Tisch School of the Arts.
                    MIAP provides prospective collection managers and archivists with an international, comprehensive education in the theories, methods, and practices of moving image archiving and preservation. Our curriculum includes courses on conservation and preservation; collection management; metadata standards and application; copyright and legal issues; moving image curation; the cultures of museums, archives, and libraries; and the histories of cinema and television. Students are taught by leading scholars and practitioners in the field.

                    https://tisch.nyu.edu/cinema-studies/miap

                    https://www.facebook.com/NYUMIAP/

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                      概念美術館官方頻道
                      [01:25] 至 [05:41]

                      Jonathan Farbowitz

                      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. Farbowitz has worked on the restorations of Shu Lea Cheang’s Brandon (1998–1999) and John F. Simon Jr.’s Unfolding Object (2002). He 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://www.guggenheim.org/blogs/author/jonathan-farbowitz

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                        概念美術館官方頻道
                        [00:00] 至 [05:02]

                        科技藝術典藏 系列講座五:時基媒體藝術修復師的養成 – Jonathan Farbowitz 經驗分享

                        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-talk5/

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