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• W343447403 abstract "GLORIA SUTTON is in the Ph.D. program of the Department of Art History at UCLA and has been on the Board of Directors of Rhizome.org since 1998. If the discourse on new media art was condensed into a single body and hooked up to a monitor to get a read of its vitals, two sharply different lines would zip across the screen. One would be a rapid succession of peaks and valleys reflecting the frenetic activity of artists and curators generating an exponentially growing number of exhibitions, festivals and catalogs devoted to new media art that has largely determined the parameters of this burgeoning field. If the second line recorded the amount of sustained critical analysis brought to bear on new media art by historians and critics, it would practically flat line across the screen setting off a shrill, incessant alarm. [pi] While these two lines rarely intersect, one point of convergence is the issue of digital preservation. Within museums, libraries, private collections and universities this has almost exclusively meant using scanning devices and database software to render existing artworks from a variety of distinct media (painting, sculpture, photography) into digital forms in order to extend the works' accessibility in terms of research, sales or instruction. The prevailing organization system for this activity is still ordered according to a typology of medium, with the intention that the digital database will merely mimic the analog system of classification. And while the efficacy of relying or insisting on a specific medium as a qualifier for art has been repeatedly contested, no other typology has come to replace this system. [pi] Alternative models are being discussed within a closed circuit of select museums and organizations that focus on new media and net art. Perhaps what is most productive about the recent institutionalization of these practices is that their inherently ephemeral qualities may destabilize the current system of classification. The complications that arise from commissioning, exhibiting or collecting media formats and software that are subject to obsolescence at a relatively rapid rate have demanded that institutions define artwork independently from medium. Two significant models are found in the Guggenheim's Variable Media Initiative (http://www.guggenheim.org/variablemedia/) and Rhizome.org's ArtBase (http://rhizome.org/artbase/). [pi] The Variable Media Initiative was developed by a consortium of Guggenheim staff and outside consultants and is built around case studies ranging from Robert Morris's performance Site (1964) to Mark Napier's web-based Net Flag (2001). Each artwork Is analyzed in terms of behaviors, identified as performed, interactive, networked or encoded, intrinsic to the piece. …" @default.
• W343447403 created "2016-06-24" @default.
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• W343447403 date "2002-05-01" @default.
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