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.

  • Emma Dickson

    Emma Dickson

    Emma Dickson,著迷於舊科技、翻譯的過程及科技語言的衰敗。Emma Dickson同時製作與保存時基藝術—尤其是數位藝術,並於2016至2017年復原BRANDON—藝術家鄭淑麗在1998年所創作的網路藝術作品。

    Emma Dickson is fascinated by outdated technology and the process of translation and obsolescence in technical languages. They both produce and conserve time-based media, especially digital art, and in 2016-2017, restored of BRANDON , a 1998-1999 piece of netart by Shu Lea Cheang. Their net art and new media sculptures, including the 2018 piece Mixed Connections, explore identity, community, and longing through tech. Mixed Connections has been featured in Digital America Issue 11 , CICA’s 2019 exhibit OBJECTIFIED , #cyborgs , Queertech.io 2019 , maps-dna-and-spam , and an online exhibit of What Will Remain of Us at College Street Gallery in London . In Winter 2019, they were the Toolmaker-in-Residence at Signal Cultures in Owego, NY, where they began to develop a new, multimodal form of slow scan TV (SSTV). Emma currently lives in Durham North Carolina, where they skate with Bull City Roller Derby and are employed as a Data Scientist/Developer with IBM.

科技藝術典藏 古根漢美術館x紐約大學 - 鄭淑麗〈Brandon〉 網路藝術典藏品修復案例 / Guggenheim x NYU - Restoring Collection of Shu Lea Cheang's Brandon

概念美術館官方頻道

發佈日期: 2019年7月24日
瀏覽次數: 708

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概念美術館官方頻道
[59:48] 至 [01:02:41]

Shu Lea Cheang, "Brandon", 1998–99

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.

Originally presented in conjunction with the Society for Old and New Media (DeWaag) in the Netherlands, Brandon was not only a website, but for one year also served as a social and academic space through which a broad audience communicated both casually and as participants in a number of organized events. Staged in physical spaces but broadcast and represented online, two notable events, “Digi Gender Social Body: Under the Knife, Under the Spell of Anesthesia” and “Would the Jurors Please Stand Up,” blurred the distinctions between online and offline platforms and highlighted the far-reaching capabilities of the early Internet.

Notable for being the Guggenheim Museum’s first official engagement with the then-emerging medium of Internet art and one of the first works of this medium commissioned by a major institution, Brandon is often cited as a watershed moment for the movement and for its important place in the history of contemporary art.

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

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    概念美術館官方頻道
    [47:00] 至 [51:09]

    Mooplay Chat

    The mooplay interface is designed to explore the narrative fusion of fictional persona play. The narratives, submitted by commissioned writers, are rescrambled when one clicks on a designated line (__is now known as __) in mixup.html. Names of assumed characters launch a java applet chatbox and trigger display of random images. At the same time, the characters join the chat with the net public in non-related manner. The ever re-combinant streams of narratives provide a texual social space to review gender - coded chat environments on the net.

    http://prod5.guggenheim.org/credits/interface/mooplay/index.html

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      概念美術館官方頻道
      [20:16] 至 [25:24]

      Data migration methodology

      The data migration process consists of phases that provide a tested methodology. You can use the data migration methodology to scope, plan, and document your migration choices and tasks.

      https://docs.netapp.com/ontap-9/index.jsp?topic=%2Fcom.netapp.doc.dot-cm-sanmig-fli%2FGUID-7EA5CF63-C898-43F2-87B1-5DEDA5C89577.html

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        概念美術館官方頻道
        [12:26] 至 [17:44]

        非功能性需求(Non-functional requirement)

        非功能性需求(Non-functional requirement)

        在系統工程及需求工程中,非功能性需求(Non-functional requirement)是指依一些條件判斷系統運作情形或其特性,而不是針對系統特定行為的需求。和非功能性需求相對的是功能需求,後者會定義系統特定的行為或功能。非功能性需求也可以視為為了滿足客戶業務需求而需要符合,但又不在功能性需求以內的特性。

        一般會在系統設計中詳細列出實現功能需求的計劃,而會在系統架構中詳細列出實現非功能性需求的計劃。一般而言,功能需求會定義系統的行為,而非功能性需求會定義系統的特性。

        非功能性需求一般會稱為系統的「品質」,有時也會稱為「限制」、「品質屬性」、「品質目標」、「品質服務需求」或「非行為性的需求」。有許多非功能性需求的英文都是以「ility」結尾,例如穩定性(stability)及可移植性(portability),因此非功能性需求有時也稱為「ilities」。

        https://zh.wikipedia.org/wiki/%E9%9D%9E%E5%8A%9F%E8%83%BD%E6%80%A7%E9%9C%80%E6%B1%82

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          概念美術館官方頻道
          [03:20] 至 [07:01]

          Emma Dickson

          Emma Dickson is fascinated by outdated technology and the process of translation and obsolescence in technical languages. They both produce and work as a technician on time-based media, especially digital art. Their net art and new media sculptures, including the 2018 piece Mixed Connections, explore identity, community, and longing through tech. In Winter 2019, they were the Toolmaker-in-Residence at Signal Cultures in Owego, NY, where they began to develop a new, multimodal form of slow scan TV (SSTV). Emma currently lives in Durham North Carolina, where they skate with Bull City Roller Derby and are employed as a Data Engineer with Artsy.

          https://emmadickson.info/

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            概念美術館官方頻道
            [02:04] 至 [04:57]

            Jonathan Farbowitz

            I am currently the Associate Conservator of Time-Based Media at the Metropolitan Museum of Art where I care for film, video, audio, slide, and software-based artworks in the Met's collection. Previously I was the Guggenheim Museum's Fellow in the Conservation of Computer-Based Art where I assisted the conservation department with preservation needs of computer-based artworks in the collection. I'm also interested in preserving malware and other digital anomalies, archiving media related to social movements, discussing the ethical treatment of footage of Indigenous peoples in archival collections, and developing free and open-source software for archivists and conservators. In the past, I contributed to the development of vrecord, open-source software for videotape digitization and grabbags, open-source software for bulk creation and validation of files packaged in the Library of Congress's BagIt standard.

            I have worked on the collections of the Museum of Modern Art, Yale University Art Gallery, Anthology Film Archives, the Bancroft Library at University of California Berkeley, NYU Libraries, the Museo del Cine in Buenos Aires, City University Television (CUNY TV), the Central State Film Archive of Albania (AQSHF), and Señal Tres La Victoria in Santiago, Chile. In addition, I assessed and provided recommendations for digital preservation at Carnegie Hall.

            I graduated from New York University’s Moving Image Archiving and Preservation (MIAP) program. While at NYU, I co-organized Audiovisual Preservation Exchange Santiago, which took place in 2016 and participated in Audiovisual Preservation Exchange Buenos Aires in 2015. In the past, I worked as an application programmer analyst at Solutions for Progress and as a program associate at Scribe Video Center, both in Philadelphia. I have a bachelor’s degree in Film from Vassar College.

            https://jfarbowitz.github.io/about/

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              概念美術館官方頻道
              [00:00] 至 [05:35]

              科技藝術典藏 系列講座六 Jonathan Farbowitz、Emma Dickson 古根漢美術館x紐約大學 – 鄭淑麗〈Brandon〉 網路藝術典藏品修復案例

              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。

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