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Download Thesis This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Technical narratives analysis, description and representation in the conservation of software-based art Ensom, Thomas Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 TECHNICAL NARRATIVES: ANALYSIS, DESCRIPTION AND REPRESENTATION IN THE CONSERVATION OF SOFTWARE-BASED ART Thomas C. Ensom Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy in Digital Humanities Faculty of Arts and Humanities, King's College London Corrections Revision, March 2019 [Minor redactions of sensitive and copyrighted material for e-thesis publication carried out in September 2019] 80,204 words. © Copyright Thomas Ensom 2019 1 Ensom - Technical Narratives Abstract The term software-based art has emerged from conservation practice over the past decade to describe artworks for which software forms the primary artistic medium. Such works present new challenges for those engaged in the long-term care of collections of modern and contemporary art. They are often technically complex and may employ many inter-related (and sometimes bespoke) components, embedded in a specific technical environment. As a result, software-based artworks are particularly at risk from processes of loss and obsolescence. While progress has been made toward the development of practical strategies for their preservation, how to effectively document them in a conservation context remains poorly understood. In this thesis, I describe practice-led research which has sought to address this gap using a constructive research approach. I first develop a conceptual framework through which to better understand the problem space, consisting of two parts: an in- depth examination of the characteristics of software as a medium; and an exploration of the document concept and its meaning in relation to the role of the conservator. Using this conceptual framework to further refine my research aims, I examine three topics in detail, seeking to develop practical solutions for each: the analysis and representation of software structures; the extent to which notions of significance and artwork identity might be formalised as documentation; and how the patterns of change which occur in the life of a software-based artwork might be understood and recorded. In addressing each of these aims, I draw on insights gained in the in-depth study of a set of software-based artwork case studies from the Tate collection and the synthesis of existing theory from a number of related domains. The outcomes of the research have direct relevance to conservation practice, not as formal templates, but rather as a set of flexible and reusable principles and methods that might be applied individually or in conjunction to effectively document a diversity of software-based artwork types. 2 Ensom - Technical Narratives Table of Contents List of Tables ......................................................................................................... 7 List of Figures ........................................................................................................ 8 Acknowledgements ............................................................................................. 11 CHAPTER 1. INTRODUCTION ............................................................................. 12 1.1. Thesis Outline ............................................................................................. 12 1.2. Key Knowledge Contributions...................................................................... 16 1.3. Terminology ............................................................................................... 17 1.3.1. Conservation and Preservation ............................................................. 17 1.3.3. Software-based Art and Genre Terms ................................................... 19 1.4. Literature Review ........................................................................................ 20 1.5. Rationale and Scope ................................................................................... 27 1.6. Methodological Approach ............................................................................ 29 1.6.1 Legal and Ethical Considerations ........................................................... 34 CHAPTER 2. SOFTWARE AS MEDIUM AND MATERIAL ................................... 35 2.1. Chapter Outline ........................................................................................... 35 2.2. What is Software? ...................................................................................... 36 2.2.1. Defining Software.................................................................................. 36 2.2.2. Software Representations and Opacity ................................................. 39 2.2.3. Abstraction and the Materiality of Software ........................................... 41 2.3. Software Performance Model ...................................................................... 44 2.4. Software and Environment .......................................................................... 48 2.5. Emergence of Software as Medium ............................................................ 54 2.5.1. Computer Art and Historical Precedents ............................................... 55 2.5.2. New Media and the Computational Metamedium .................................. 59 2.6. Medium-Specific Conservation Considerations: A Lexicon....................... 63 CHAPTER 3. CONSERVATION DOCUMENTATION IN THEORY AND PRACTICE .............................................................................................................................. 69 3.1. Chapter Outline ........................................................................................... 69 3.2. Revisiting Documentation Theory ............................................................... 70 3.2.1. Representation, Modelling and Use ...................................................... 73 3.2.2. Information Science and Digital Documents .......................................... 75 3.3. Documentation in the Conservation Workflow ............................................ 77 3.3.1. Acquisition ........................................................................................... 79 3 Ensom - Technical Narratives 3.3.1.1. Information Gathering ..................................................................... 79 3.3.1.2. Appraisal and Planning ................................................................... 86 3.3.2. Ongoing Care ...................................................................................... 89 3.3.2.1. Installation and Display ................................................................... 89 3.3.2.2. Preservation Strategies and Treatment .......................................... 91 3.3.3. Information Systems ............................................................................. 95 3.4. Documents for the Conservation of Software-based Art .............................. 98 CHAPTER 4. ANALYSIS AND REPRESENTATION OF SOFTWARE STRUCTURES .................................................................................................... 100 4.1. Chapter Outline ......................................................................................... 100 4.2. Reconstructive Analysis of Software and Environment .............................. 101 4.3. Legacy Systems and Reverse Engineering ............................................... 105 4.4. Problematising Source Code Analysis ...................................................... 107 4.4.1. Case Study: Program Comprehension Through Source Code Analysis ..................................................................................................................... 113 4.5. Binary-centric Software Analysis .............................................................. 116 4.5.1. Binary Analysis and Decompilation ..................................................... 117 4.5.2. Process Analysis and Instrumentation ................................................ 125 4.5.3. Case Study: Dependency Identification Using Binary and Process Analysis ........................................................................................................ 128
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