Building an overview of the Imal archive:
- Paper: administrative, artistic
- Objects : artworks
- Digital : files, docs, cds, dvd, hard drives, books
… more ...
What's the meaning of such archive? (why keeping, short or long term?)
A lot of things are collected and created :
- Videos, pictures and so on are produced to document the exhibitions
- Old machines are also kept for obsolete pieces of software (they also help double checking if the emulation is correct)
Making an overview Why? - mapping what there is/isn't - state of docs and objetcs - trigger next actions - set priorities
Result - overview, traceability, information of the state of docs, how things are arranged Paper archive: excel sheets listing infos about physical state
Result → a list
Digital archive - state - centralization - linking digital and analog
Tools - command line - droid identification files formats and types of softwares - preview pane
Recommendations: - for artists : personal account on computer, use of standard folders (organisation) - establish folder structure - after exhibition : transfer files on backup drive, create checksums, transfer to sustainable formats - safe in folders, not through applications (direct access) - central server with automated back up
People use their personal computers, sometimes back up at the imal, there is another back up at Yves' home.
Action plan for paper and digital/paper archive continue overview (computer, HD) Artworks software preservation After overview: transfer on backup drive, create checksums and control, transfer files
Archive's structure has to be established in collaboration with the co-workers as they have needs and work following certain processes, their subjectivity will shape the archive.
Defining archive, collection, heritage. Should processes or outcomes only be collected? Example : Georges Lucas changed some scenes in his movies and tries to remove the previous versions from circulation. → artistic choice? But for history of cinema this could be interesting?
The question of value is a tricky one. The imal has copies of very old works on very old computers. Some content that artists cannot run anymore are stored here and something could be done about it.
Recording the conditions of exhibition of work is also valuable as works go through “transformations” through their manifestation in exhibition spaces.