motion media

just recieved notice that my paper has been accepted into the Media in Motion Symposium run by DOCAM. The symposium will be in Montreal from October 29 2008.

Abstract
Recontextualisation of technology in contemporary life from objects of fascination to everyday tools has likewise been reflected in current art practices. The past decade has seen memory institutions grapple with and overcome momentous shifts towards increasingly techno-centric modes of creative and intellectual production and output. In the library, archive and academic communities, the response has predominantly focussed on web archiving and digitisation practices for large-scale digital repositories with accompanying online delivery mechanisms. When faced with the overwhelming task of tackling complex born-digital objects – those that assume hybrid forms, employing multiple file formats, contain a combination of custom-designed and constructed software, hardware and wetware – with resultant installations, performances or wearables (interactive or otherwise), momentum rapidly decreases. Tendencies suggest the library community shies away while museums return to traditional documentation practices. Thus far, support for media art in general has largely been situated in the gallery and museum domain, positioned outside of the traditional library sphere. Contributions from both library and museum archival practices are essential for a holistic approach to preservation and sustained access, ensuring longevity of media artworks. When faced with developing systems for archiving a collection of weird and wonderful media artworks, what models and standards are available for managing both the artwork its associated metadata? Navigating through the seemingly endless list of acronyms that include MANS, METS, PREMIS and OAIS, what can be utilised to keep both the work and metadata alive?

Each collection brings along its own idiosyncrasies, so identifying potential assets and issues for preservation models is a necessity. With ‘the only constant is change’ as a basic premise, how do we handle existing materials while maintaining awareness of and the flexibility to manage emerging future forms? While no single specific solution is attainable, presented is a range of considerations intended to stimulate dialogue in this emerging field.

For more info see: www.docam.ca/en

archival

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Originally uploaded by AliaK

archiving workshop panel with Jo Fleming (NFSA, AFC) and Shannon O'Neill (UTS, alias frequencies) talking about digital archiving and collaborative development of online projects/spaces - Electrofringe 2006

electrofringing

not much time to report back on electrofringe 2006 - and was busy there with a performance - in ID-i/o mode - and panel on digital archiving (with shannon o'neill and jo fleming).

a selection of scenes from electrofringe...

the colectivo girls, mid-RAW performance

TK in new!shop mode, with new!shoppers gail priest and others

sophea lerner and andrew burrell cooking up a sonic storm

more sonic cookery (shannon o'neill - ready to remix in the background)

ross bencina outlined in robin fox's super-duper maxMSP-driven laser show

This is Not Art is on again in Newcastle (28 September 2006 - 02 October 2006).

I'll be presenting a panel with Shannon O'Neill Digital Archiving and Media Art History Writing
and
a multichannel A/V performance with dpwolf, TBA, utilising accellerometers.

future shock

the Australian Partnership for Sustainable Repositories forum, Long-term Repositories: Taking the Shock out of the Future was held last Thursday and Friday. A few guests from overseas and after two days, a really positive feeling for possible ways forward for digital preservation and archiving.