User:Jules/draganrhizome

http://pad.geocities.institute/p/IMAL

Rhizome: since 1996
http://rhizome.org/about/

The role of conservation in Rhizome's history Attached to the New Museum in New York.
Rhizome started as an email list → that is already sort of an archive

In 1999 it was decided that artistic practice had to be documented (artbase rather than archive). It was an effort to archive the future and make it into an established form.
The artbase was opened, there was no selection.
It was an artbase rather than archive.
2000+ pieces mainly net art.

These types of artworks are challenging :
- objecthood (no exhibition space, no shelves nothing)
- ownership (google maps based works)
- “variability”

One example (different instantiations):
http://archive.rhizome.org/artbase/2549/untitled/index.htm
http://www.leegte.org/works/online/composition_blue/index.htm
http://www.scrollbarcomposition.com/
http://webenact.rhizome.org/untitled-scrollbars/20150713163150/http://www.leegte.org/works/online/composition_blue/index.htm
http://hdl.handle.net/11270/f4a258e8-4387-424c-9670-2e9ebf737d42

Very little institution. It's complicated to look after each work. That puts them between a library and museum. (they cannot normalise things)
have to take approaches from library methodologies.
Capacity problems.
Dealing with Hardware is not possible at rhizome for instance. They had to give it away because it's not maintainable.
Rhizome has done some radical statement, like the opened approach.

Participation:
Folksonomy example:
http://rhizome.org/artbase/artwork/55316/edit/
http://rhizome.org/artbase/tag/ VRML
http://rhizome.org/artbase/artwork/14970/

compare with...
https://instagram.com/explore/tags/kitten/
tags aren't that great or always reliable

you write description and upload your work.
There is a form, to give information about your work
Some questions are very technical and you might get a bit lost with them

Best practices
metaphors for preservation : objects, files (string), lots, collections
analog, digital, born-digital, ART
→ bit annoying because it only relates to what's the current state of technology use within society

Visual Art → Photography → video Art → Digital Art
This idea of Art's division is also complicated.

Some projects :
the download by Kari Altmann, Angela Detanico (variable files and dimensions)
"HTML, Java Applet; dimensions variable"
http://rhizome.org/the-download/2012/jul/
http://rhizome.org/the-download/2012/oct/

Levels of Preservation (local disc)
http://www.digitalpreservation.gov/ndsa/working_groups/documents/NDSA_Levels_Archiving_2013.pdf

Art has to be accessible which means that the most complicated part of conservation has to be met before all storage and metadata etc things have to be done first. (levels of preservation document prescriptions)

Metadata: being able to exchange data is not a value in itself.
Ask what metadata can do for you, know what you need to do for metadata
File-based preservation is in fact document-based preservation (local file system examples)
Let's stop the discussion going "emulation and other ways of preservation"

A New Memory Institution

https://webrecorder.io/
http://eaas-client-dev4.elasticbeanstalk.com/
http://hdl.handle.net/11270/3f5f0f77-a107-4fb3-8148-61f1b051038b John F. Simon Jr, Every Icon, 1997
https://catalog.rhizome.org/w/Item:Q2217

Sometimes artists cannot give a work, hand a folder to an institution because they may be working on social networks etc...

   COMPUTATIONAL PERFORMANCE

   MINIMALISM IN TECHNICAL METADATA

   PERFORMATIVE CONSERVATION

   MAKING TOOLS FOR OTHERS → not just for institutions by themselves. It has to open up.