middle of such tensions that shifting epicentres and boundaries can be traced. Fu tu re Scena rio s
In the second section speculation about the future of digital art occurs in two essays and one e-mail conversation. In his essay, art historian Edward Shanken asks what the world would be like if Roy Ascott’s La Plissure du Texte (1983) sold at auction for $34.2 million instead of Gerhard Richter’s Abstraktes Bild (1993). Based on a ‘Facebook query’ Shanken offers a glimpse of what such an (art)world would be like. Sarah Cook curator of and writer on contemporary art takes the perspective of an artist at some point in a near future. On close reading a world opens up that is imaginable, maybe even traceable, but its ambiguous character leaves the reader puzzled. Choosing the format of ‘question of the day’, Jill Sterrett, director of collections and conservation at San Francisco Museum of Modern Art; Layna White, head of collections information and access at San Francisco Museum of Modern Art; and Christiane Berndes, conservator collection Van Abbemuseum in Eindhoven, responded separately to questions send by e-mail. A conversation emerged that circled around the issues of risk taking, ownership and the idea of acquiring a network of relationships, trust, and the branching of organisational structures. Throughout, these issues were related to the openness of shaping, the elasticity of the museum, and the influence of financial business models. Archiv e & M emo ry
In the third section three authors respond to and reflect on the notion of the archive. Best known for his research and writing on media archaeology, Jussi Parikka, reader in Media and Design at Winchester School of Art in Southampton, brings media archaeology into the future. By allowing for an expanded idea of memory, Parikka opts for an approach of reuse, remixing and sampling, and shows how such an approach can help conservators and artists when thinking about the preservation of digital artworks. Artist and media art historian Nina Wenhart problematises categorical functions in traditional archiving. She argues that speculation offers a way of working with approximation,
Published on Aug 1, 2013
There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences th...