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Olia Lialina's Early Net.Art Piece „Agatha Appears“

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Olia Lialina's Early Net.Art Piece „Agatha Appears“ Archivierung von digitaler Literatur: PETER PETER LANG Probleme-Tendenzen-Perspektiven Archiving Electronic Literature and Poetry: Problems-Tendencies-Perspectives Herausgegeben von Florian Härtling und Beat Suter Jg. 29 (2010), Heft 1/2 Herausgegeben von Reinhold Viehoff (Halle/Saale) Spiel Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft spiel Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 29 (2010), Heft 1/2 Peter Lang Frankfurt am Main • Berlin • Bern • Bruxelles • New York • Oxford • Wien Bibliografische Information der Deutschen Nationalbibiiothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ISSNISSN 2199-80780722-7833 © Peter Lang GmbH Internationaler Verlag der Wissenschaften Frankfurt am Main 2010 Alle Rechte Vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. www.peterlang.de spiel Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 29 (2010), Heft 1/2 Archivierung von digitaler Literatur: Probleme-Tendenzen-Perspektiven Archiving Electronic Literature and Poetry: Problems-Tendencies-Perspectives Herausgegeben von Florian Härtling und Beat Suter Redaktionelle Notiz: Die Jahrgänge SPIEL 27 (2008) und SPIEL 28 (2009) sind in Vorbereitung und werden zu einem späteren Zeitpunkt nachgereicht. Dafür bittet die Redaktion um Verständnis. Editorial note: The volumes SPIEL 27 (2008) and SPIEL 28 (2009) are in preparation und will be published at a later date. The editorial team asks for the readers’ indulgence. Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Herausgeber dieses Heftes / Editor of this issue: Florian Härtling & Beat Suter Contents / Inhalt SPIEL 29 (2010), H. 1+2 Florian Härtling, Beat Suter (Halle/Zürich) Das untaugliche Archiv. Einführung / Introduction 1 THEORETISCHE POSITIONEN / THEORETICAL POSITIONS Wolfgang Ernst (Berlin) Medien(kunst) als Anlass, das Archiv umzudenken 9 Marcus Burkhardt (Gießen) Archive des Digitalen: Medienphilosophische Überlegungen zu Utopie, Dystopie und Realität digitaler Archivierung 21 Beat Suter (Zürich) Digitales Schreiben und Archivierbarkeit von elektronischer Literatur 37 Joseph Tabbi (Chicago) Toward a Semantic Literary Web: Setting a Direction for the Electronic Literature Organization’s Directory 63 Scott Rettberg (Bergen) Editorial Process and the Idea of Genre in Electronic Literature in the Electronic Literature Collection, Volume 1 85 Elzbieta Wysocka (Warsaw) Agatha re-appears. Restoration Project: Olia Lialina’s early net.art piece .Agatha Appears“ from the Collection of the C3 Center for Culture & Communication Foundation 97 KÜNSTLER / ARTISTS AND AUTHORS Dirk Schröder (Berlin) 0,5 Cent 125 Johannes Auer (Stuttgart) Archivierung von performativer Netzliteratur. Eine ernste Polemik 141 Susanne Berkenheger (Berlin) Netzliteratur-Sanierungsbüro Berkenheger. Analysen, Konzepte, Referenzen und weitere Überlegungen 149 Florian Cramer (Rotterdam) Ctrl - > Alt -> Delete. Vom schnellen Verfall neuester Literatur: Warum es heute noch weniger interessante Netzdichtung gibt (als vor einem Jahrzehnt) 161 René Bauer (Zürich) GameArt: das Subversive in einem „Mille Plateaux“-Archiv sammeln 169 Frank Klötgen (Berlin) Das Siechtum nach der Deadline 179 Valeska Bührer (Berlin) Dearest progressive scan loading. On victims of broadband 187 Simon Biggs (Edinburgh) Publish and Die. The Préservation of digital literature within the UK 191 INSTITUTIONEN UND INITIATIVEN / INSTITUTIONS AND INITIATIVES Reinhard Altenhöner, Tobias Steinke (Frankfurt am Main) Archivierung von Netzliteratur in der DNB 203 Sabine Schrimpf (Frankfurt am Main) Archivierung von Netzliteratur: Herausforderungen aus der Sicht von nestor - Kompetenznetzwerk für digitale Langzeitarchivierung 215 Karin Schmidgall, Jochen Walter (Marbach) Literatur im Netz. Sammeln, Erschließen, Archivieren. Bericht über eine Herausforderung für die klassische Bibliothek 223 Renate Giacomuzzi (Innsbruck) Zum Archivierungsprojekt DILIMAG - Positionen, Erfahrungen, Probleme 235 Hans Kristian Rustad (Hamar) Nordic electronic literature. Tradition, Archiving, and Cultural Valuation 247 Patricia Tomaszek (Siegen) Reading, Describing, and Evaluating Electronic Literature for Archiving 255 RUBRIC Lâszlô Halâsz (Budapest) Perception of the terrorist as a literary protagonist 269 10.3726/80119_97 SPIEL 29 (2010) H. 1+2, 97-123 Elzbieta Wysocka (Warsaw) Agatha re-appears. Restoration Project: Olia Lialina’s early net.art piece „Agatha Appears“ from the Collection of the C3 Center for Culture & Communication Foundation Die Konservierung von Netzkunst kann als ein Paradox angesehen werden: Wie ist es möglich, Kunstwerke zu bewahren, die sich ihrer Natur nach in ständiger Veränderung und in einem steten Prozess des Entstehens befinden? Besteht wirklich ein Bedürfnis, Kunstwerke zu konservieren, die „erst gestern“ kreiert wurden? Netzbasierte Kunst rückte erst vor einem Jahrzehnt in unser Blickfeld. Sie nahm aber schnell eine besondere Dringlichkeit ein durch die schnelle Überalterung der Web-Technologien und die fragile Natur der digitalen Medienformate. Das Ziel des „Agatha re-Appears“ Projektes war die Erforschung von Lösungen zur Konservierung und Restaurierung von netzbasierter Kunst. Die direkte Inspiration für dieses Projekt war Olia Lialinas Kunstwerk „Agatha Appears“, das zur Sammlung von „C3“ gehört. Dieses renommierte Objekt, das während der ersten Phase des Genres Netzkunst entstanden war, erlitt eine teilweise Zerstörung seiner Dateien durch Veralten des Codes sowie die Auflösung vieler Orte im Netz, die Teil des Kunstwerkes waren. Der Prozess der Restau- rierung wurde von einem Team durchgefuhrt, das sich aus einer Konservatorin (der Autorin) und einem Programmierer (Andräs Szönyi) zusammensetzte. Er bestand vorwiegend darin, das Werk zu reformatieren, zu reprogrammieren und fehlende Elemente wieder neu zu erstellen. Durch Interviews mit Künstlern und Programmierern sowie durch das Analysieren von bereits ausgeführten Restaurationsprojekten, versuchte die Konservatorin, die richtigen Mittel zur Kombi- nation einer langen Tradition von Kunstkonservierung mit neuen Tools und Theorien zu finden, welche die digitale Revolution begleiten, um die spezifischen Probleme netzbasierter Kunst zu lösen. Dieser Aufsatz wurde aus der Perspektive einer Kunstkonservatorin geschrieben, für die die Beschäftigung mit netzbasierten Kunstwerken eine enorme Herausforderung und ein Abenteuer war. 98 Elzbieta Wysocka Figure 1: OliaLialina: „Agatha Appears“, 1997. Fragment, <http://www.c3.hu/collection/agatha/>. We are all used to looking on the Internet as a quick and convenient source of informa­ tion. We can clearly see how more and more elements of our lives (including the sphere of art) are moving into virtual space and how the Internet has become an integral part of life in (post)modem societies. These processes are no longer sources of awe and wonder and so we do not remember the widespread optimism and enthusiasm that accompanied its beginnings. In those days proclamations of universal freedom and independence from existing structures were made and unlimited space for art and culture was promised. Almost immediately, the first artistic projects were online and soon a vivid community of artists was organised around them. Today, on the one hand we have stopped believing in these widely heralded promises and, on the other hand, started to be concerned about the risks of this dream coming true when net-based art is not essentially intended for exhibi­ tion in public gallery spaces. Just like the Web itself, net art is not subjected to any out­ side restrictions (besides the limits of technology). However, after only a few years since the first experiments were made, a new territory of art was established spreading to pres­ tigious art events and capturing public interest. Currently we can visit net art exhibitions in physical galleries or visit curated websites. Soon after this establishment, institutional collecting began and as a consequence the issue of preservation has become widely rec­ ognised. Today the first projects involving the archiving and restoration of net-based resources are already in progress. For example: The UK Archiving Consortium (2000) and The Digital Preservation Coalition (2002). Agatha re-appears 99 Net art - looking for the definition Enclosure of any of the disciplines of contemporary art by strict definition will usually not survive the test of time, especially in the case of digital art where the definitions are deconstructed as fast as the development of technology. One basic criterion is, of course, the material from which the object of art is realised. In the case of net art it is a network - the World Wide Web. It is not a synonym of the Internet as we are used to think. The World Wide Web rather is a way of processing and presenting information while the Internet is an electronic system of inter-communication. (Wojtowicz 2008: 89). Although we often find art created using other media in the Internet, when we refer to net art we go beyond the simple treatment of the Internet
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