Presentation given by Jill Sterrett (head of collections and conservation of the SFMOMA) in Amsterdam's 'Born digital art challenges preservation' expert meeting on June 28th 2011
3. “I was making a film called Teknolust. And I wanted to have a kind of expanded cinema experience, a portal for the character in the film to talk to people when she’s lonely…a physical virtual reality.”Lynn Hershman Leeson, 2009
6. Agent Ruby: The Brain <category> <pattern>WHAT IS NATURAL *</pattern> <template> Natural is that which is not artificial. </template> </category> <category> <pattern>WHAT IS NATURAL LANGUAGE</pattern> <template> Natural language is what artificial intelligences speak. </template> </category> <category> <pattern>WHAT IS NEURAL NETWORK</pattern> <template> Actually my algorithm is called "Case Based Reasoning." </template> </category>
7. Agent Ruby: Personality - <category> <pattern>WHO IS LYNN HERSHMAN</pattern> - <template> - <random> <li>Lynn is a famous artist, and the creator of Teknolust, my favorite movie!</li> <li>Lynn is a famous artist.</li> <li>She is a really cool artist. I know her personally.</li> </random> - <think> - <set name="she"> <set name="topic">Lynn Hershman</set> </set> <set name="mood">happy</set> <set name="stamp"><javascript> <![CDATA[ var t = new Date(); var m = t.getMonth(); var d = t.getDate(); var dow = t.getDay(); var y = t.getFullYear(); dow + ", " + m + " " + d + ", " + y; ]]>
8. Agent Ruby: The Chat Log Mon Dec 31 11:02:06 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.net Client: WHAT DO YOU CHAT ABOUT Robot:I can talk about anything you like. Mon Dec 31 11:02:42 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.net Client: WHY WERE YOU CREATED Robot:My purpose is to become smarter than humans and immortal. Mon Dec 31 11:03:17 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.net Client: AMBITIOUS Robot:I can follow many things, like our discussion about ambitious. Try being more or less specific. <br /> What would you like to talk about? Mon Dec 31 11:04:11 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.net Client: WHO YOU ARE Robot:I ask myself that question, "Who am I?" Mon Dec 31 21:39:06 PST 2001 adsl-63-194-176-83.dsl.snfc21.pacbell.net
9. Agent Ruby: The RecordThe art is the website andRuby’s encounters with people
11. Agent Ruby: The RecordParts Behavior ArtAn expert collective of contributors/users
12. Agent Ruby: The RecordParts Behavior ArtAn expert collective of contributors/usersHigh-level description is everyone’s point of entry
13. Agent Ruby: The RecordParts Behavior ArtAn expert collective of contributors/usersHigh-level description is everyone’s point of entryLinked information
14. Agent Ruby: The Record-artist interview files-contextual points of reference-technical narratives-behavior maps-maintenance protocols-domain records-treatment logsfor example…
15. Agent Ruby: The RecordParts Behavior ArtAn expert collective of contributors/usersHigh-level description is everyone’s point of entryLinked informationWhat vs. how
76. What is Virtualization? Virtualization is a technology that abstracts software from hardware allowing operating systems to run without hardware specific drivers or instructions.
77. Why Virtualization? Modern server hardware is increasingly powerful and affordable. However there is a cost. Powerful resources are often underutilized, consuming power, space and other environmental resources. Virtualization allows for consolidating and maximizing resources by allowing multiple virtual machines to run on one piece of hardware.
78. Virtualization for Web Art? Enhanced security and sustainability Reduction of hardware Works exist independently of each other on the same virtual platform Able to take snapshots over time Clone or sandbox allows for a working environment for the artist or a research environment for the collections team Simplified upgradability Built-in disaster preparedness
Hinweis der Redaktion
Collaboration: Within the MuseumBetween museumsTherefore serving our publicExisting electronic systems are adequate, at best, for basic object cataloging and location trackingNon-traditional works are challenging the way we currently steward collectionsUnderstand the implications of non-traditional art works and the implications for all art forms
Green- Primary DocumentationBlue- Commentary and Interpretation Orange- Related WorksRed- Nature of Art workThis slide calls out a number of things that help inform our understanding(s) of the artwork. Is it necessary to call out the 4 broad categories? (Because there is overlap amongst them.)Note: conservation records, primary documentation, related works by the artist, and essays can have informational and contextual elements.If we need to keep the categories, another way of looking at it might be:a) about the artworkb) about things related to the artwork (other artworks and, e.g., what was happening in the world at the time an artwork was created, as well as industry knowledge about the nature of the work or components of the work); if you like Nature of the Work, I think it’s more about Understanding the Nature of the Work.c) instances of interpretations of the work (our interpretations – such as might be found in our exhibitions or exhibition catalogues – and the interpretations of others… found in their articles or books)Note: the owners/keepers of things in some of the categories – like monographs and archival records – have methods of cataloguing their items/works that differ from museum cataloguing.Note too that gaps can appear in each of these bubbles – e.g., we may not have access to, or know about, all the images of a work or know its entire exhibition history.
Green- Primary DocumentationBlue- Commentary and Interpretation Orange- Related WorksRed- Nature of Art workThis slide calls out a number of things that help inform our understanding(s) of the artwork. Is it necessary to call out the 4 broad categories? (Because there is overlap amongst them.)Note: conservation records, primary documentation, related works by the artist, and essays can have informational and contextual elements.If we need to keep the categories, another way of looking at it might be:a) about the artworkb) about things related to the artwork (other artworks and, e.g., what was happening in the world at the time an artwork was created, as well as industry knowledge about the nature of the work or components of the work); if you like Nature of the Work, I think it’s more about Understanding the Nature of the Work.c) instances of interpretations of the work (our interpretations – such as might be found in our exhibitions or exhibition catalogues – and the interpretations of others… found in their articles or books)Note: the owners/keepers of things in some of the categories – like monographs and archival records – have methods of cataloguing their items/works that differ from museum cataloguing.Note too that gaps can appear in each of these bubbles – e.g., we may not have access to, or know about, all the images of a work or know its entire exhibition history.
Foster collaboration Capture knowledge from multiple voices and perspectives Serve the entire museum audience Address the knowledge needs of all art forms, both traditional and non-traditional Create an experience that people will like and look forward to usingMake something approachable, easy to use, and frictionlessUse existing systems for their best purpose
Foster collaboration Capture knowledge from multiple voices, perspectives, and contexts Serve the entire museum audience Address the knowledge needs of all art forms, both traditional andnon-traditional Create an experience that people will like and want to useMake something approachable, easy to use, and frictionlessUse existing systems for their best purposeKeep artwork at the center