Transformation on Digital Art- Lima Conference
23/3/2018

(Notes from day one)
Overview of future proofing. Preservation in interactivity. The DIY Li-ma documentation tool for digital archive tool.

Part one:

Sustainable Storage of Digital Art
Marcel Ras (NDE) (Digital heritage network, a connective network of institutions and partners. Share tools, services and advice for the preservation.)

Patricia Falcão (Tate)
Digital Archival Storage: The View from the Conservation Studio.
Productions changes mean that archival changes must be implemented.
Identifying the possible tools and systems.
archivematica is the tool that used, (Tate, Moma).
Generates Archival Information Packages (AIPS)
Technical metadata is extracted automatically and can be exported.
What goes into an archive? What is metadata?
Ingest processes, how to develop the process. (quality control a file, check for viruses, quality check of video files.
Anne asks other communities? Community around Performa, Dave Rice.
(archivematica) three day workshop in April.

Yves Bernard (iMAL), The ResurrectionLab Project
Founded magic.be based in brussels.
Building in emulation into the archive for individual work.
bwFLA emulation as a service. How to emulate, artworks on ROMS to prevent obsolescence. iMAL.org & Packed.be
Emulate the emulator.

Morgane Stricot (ZKM), ZKM – Strength in Numbers
Stillwaterlab, in Maine.
Crowdsourcing a preservation strategy.
ZKM stores the 'original' with the same or relevant hardware, (their historical state).
Lot's of copies, keeps thing safe, spare artwork, peripheries. duplicating the artwork.
Asks the artist for a free licence.
Creates also a travel version with the help of the artists in a newer technological environment. What are the cultural, political implications of the archive?

Wiel Seuskens (LIMA), Support and Services for Preserving Online Artworks
Li-ma starts as Montevideo in 1978.
2010: Started to produce lossless video files for preservation.
2013: 'Digital born' research.
Arthost is built on libvirt and KVM
Li-ma builds the website on the virtual machine to host the work on a virtual machine running on apache.
https://arthost.li-ma.nl/wiki/arthost
They are looking at emulating web-browsers onto the virtual machine, to preserve the original intent of the work.

Jim Wraith (LIMA), What’s After WatsNext?
Social constructions of the digital archive.
[email protected]
watsnext is the cms that is being used by li-ma.

Part two:
Panel discussion
Moderated by Geert Lovink (Institute of Network Cultures - INC, Amsterdam University of Applied Sciences)

Christine Sauter (PERICLES), Out of the Woods: Model-Driven Preservation
PERICLES (digital preservation) European research project.
Promoting and Enhancing Reuse of Information throughout the Content Lifecycle taking account of Evolving Semantics.
Case Partners Tate and B.Usoc
Science Partners: Certh, Xerox Uni Gottingen, Uni Edinburgh, KCL
What we know: technology is changing at increasing speeds and this threatens the usefulness of digital resources.
Technology is getting more intelligent and more complex and this transforms human control and sope of intervention.
PERICLES is not a tool it is a digital ecosystem that includes all agents that deal with digital information inside of the digital environment this can include data objects software user communities processes technical services.

Aymeric Mansoux (Artist), Ya blew it... How Creative Commons and Free Culture Have Tamed Art and Cultural Production Engaged with the Critique of Intellectual Property
How does a licensed work: By default, the work is copyrighted: a license can be put into the work (or near it) it relies on copyright-
Art-activism used to come with an anti-copyright or xerox mark and encourage people to copy. (copyleft)
-Don't ignore licensing
-Put your money where your mouth is: reflect your policy with the license to the content of the work.
-Be strategic: use the licence as an artistic tool itself.
Instead of preaching creative commons, copyright law should have been taught by lawyers and legal scholars so that licences can be rethought.
GPL license

Harm van den Dorpel (Artist), Tokenisation

2.0
Conways law- if you are a company and you want to make a new product. And you gather the team and HR will make decisions, these decisions very much make up how the product will end up being.
Information > architecture | Content follows form

The internet repeats like a parrot and has the memory of a goldfish.
Attention leads to more attention
(Streisand Effect) Don't talk about this means everyone will talk about it.
We leach but don't seed, we treat the internet like broadcasting.
One source, multiple truths
Uniform Resource Identifier (URI)
No awareness of change over time

Internet 3.0
Crypto?
Fingerprint Content/ Hashing
Use hashing within the URL> each new version contains a link to the previous so that change can be tracked.
We keep the idea that everything is rewritable and has immutability, that there are no repercussions to erasure.
Able to store images on the blockchain and those can be used to hold works on the content.

Constant (Artist), Developing Tools to Enable the Hand Over
Commodity requires multiple agree upon values to be complete or ready for exchange.
single controlled, yet shared access
necessary files
documentation.
Dullaart Sakowski method
Context collection scaped dossier (ITTH)
contract
receipt (Authenticity)
end of work protocol. (when the work is not functioning, then there's a list at the end of the work what happens)

Transformation on Digital Art- Lima Con…