Curating the Digital: Space for Art and Interaction by David England, Thecla Schiphorst, Nick Bryan-Kinns

By David England, Thecla Schiphorst, Nick Bryan-Kinns

This e-book combines paintings from curators, electronic artists, human machine interplay researchers and machine scientists to envision the mutual advantages and demanding situations posed while operating jointly to aid electronic paintings works of their many varieties. In Curating the Digital we discover how we will interact to create space for paintings and interplay. we glance on the quite a few demanding situations reminiscent of the dynamic nature of our media, the issues posed in conserving electronic paintings works and the thorny difficulties of ways we verify and degree audience’s reactions to interactive electronic paintings.

Curating the Digital is an end result of a multi-disciplinary workshop that happened at SICHI2014 in Toronto. The members from the workshop mirrored at the subject of Curating the electronic through a sequence of displays and speedy prototyping routines to increase a list for the long run electronic paintings gallery. the implications produce a number of insights either round the thought and philosophy of curating electronic works, and in addition round the functional and technical probabilities and demanding situations. We current those complimentary chapters in order that different researchers and practitioners in comparable fields will locate motivation and mind's eye for his or her personal work.

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2 Musiol’s spectral works make clear the untapped potential for communication and knowledge-sharing via the electro-magnetic radiation interpolating carbon-based life forms. Musiol’s work, albeit photo-based, provided a visible representation for the audience of the same electronic field utilized for communication by the autonomous agents in Sessile. If Musiol gave the audience an energetic view of our botanical companions, then Laurent Gagnon offered an aesthetic and biological perspective on the impact of human inhabitation on the ecosystems that surround us.

2 Challenges NEoN proposed to publicly disseminate its activities and programmatic history, making available all of its digital content. The intention was that the six years of festival activity would be archived and made available to the public. We planned to edit, catalogue, manage and publish online NEoN’s collection of digital assets. Our ambition was to create a formal system for archiving which would be produced 3 Dealing with Disobedient Objects Fig. 1 Dirty electronics, NEoN Digital Arts Festival 2011 Fig.

4 No Longer Standard The preservation of our digital assets can no longer rely on standard archiving formats but neither can we design absolute frameworks for archiving digital material. We must define our basic values but also be aware that our archiving strategies must evolve as rapidly as the technology itself. If we are to secure the successful dissemination of our work then our plans for documenting and archiving our digital assets should not be resolved post-project but must be an integral part of the thinking behind the commission and imbedded in the process of creating the work.

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