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The Variable Media Approach L'approche Des Médias Variables Edited by permanenceThe through Variable change Alain Depocas, Jon Ippolito, and Media Approach Caitlin Jones Sous la direction de L’approche des Alain Depocas, la permanence par le changement Jon Ippolito et médias variables Caitlin Jones Permanence Through Change: The Variable Media Approach L’approche des médias variables : la permanence par le changement © 2003 The Solomon R. Guggenheim Foundation, New York, © 2003 The Solomon R. Guggenheim Foundation, and The Daniel Langlois Foundation for Art, Science, and New York, et la fondation Daniel Langlois pour l’art, la science Technology, Montreal. All rights reserved. All works used by et la technologie, Montréal. Tous droits réservés. Textes et permission. reproductions utilisés avec permissions d’usage. Bibliothèque nationale du Québec ISBN: 0-9684693-2-9 Bibliothèque nationale du Canada Published by ISBN: 0-9684693-2-9 Guggenheim Museum Publications 1071 Fifth Avenue Publié par New York, New York 10128 Guggenheim Museum Publications and 1071 Fifth Avenue The Daniel Langlois Foundation for Art, Science, New York, New York 10128 and Technology et 3530 Boulevard Saint-Laurent, suite 402 la fondation Daniel Langlois pour l’art, la science et Montreal, Quebec H2X 2V1 la technologie 3530 boulevard Saint-Laurent, bureau 402 Designer: Marcia Fardella Montréal, Québec H2X 2V1 English editors: Carey Ann Schaefer, Edward Weisberger Concepteur graphique : Marcia Fardella French coordinator: Audrey Navarre French editors: Yves Doucet, Jacques Perron Correcteurs de la version anglaise : Carey Ann Schaefer; Translations from English to French: Bruce Sterling’s “Digital Edward Weisberger Decay,” by Françoise Charron; all other texts, by The Daniel Coordonnatrice de la version française : Audrey Navarre Langlois Foundation for Art, Science, and Technology Correcteurs de la version française : Yves Doucet, Jacques Perron Printed in Canada Traduction de l’anglais au français : Bruce Sterling « Décomposition numérique », par Françoise Charron; les autres textes, par la fondation Daniel Langlois pour l’art, la science et la technologie Imprimé au Canada Table of contents Table des matières PREFACE PRÉFACE Jean Gagnon Jean Gagnon 5 INTRODUCTIONS INTRODUCTIONS The Challenge of Variable Media Le défi des médias variables 7 John G. Hanhardt John G. Hanhardt Digital Decay Décomposition numérique 11 Bruce Sterling Bruce Sterling PERSPECTIVES PERSPECTIVES Berkeley Art Museum/Pacific Film Archive Berkeley Art Museum/Pacific Film Archive 25 Richard Rinehart Richard Rinehart Franklin Furnace Archives, Inc. Franklin Furnace Archives, Inc. 29 Tiffany Ludwig Tiffany Ludwig Performance Art Festival+Archives Performance Art Festival+Archives 35 Thomas Mulready Thomas Mulready Rhizome.org Rhizome.org 39 Alena Williams Alena Williams Walker Art Center Walker Art Center 43 Steve Dietz Steve Dietz METHOD MÉTHODE Accommodating the Unpredictable: Composer avec l’imprévisible : 47 The Variable Media Questionnaire le questionnaire sur les médias variables Jon Ippolito Jon Ippolito Beyond “Conservative”: Au-delà de la «restauration» : 55 The Conservator’s Role in Variable le rôle d’un restaurateur dans la Media Preservation préservation des médias variables Carol Stringari Carol Stringari Reality Check: L'épreuve de la réalité : 61 A Year with Variable Media une année avec les médias variables Caitlin Jones Caitlin Jones Goals of the Variable Media Network Objectifs du Réseau des médias variables 66 Alain Depocas Alain Depocas CASE STUDIES ÉTUDES DE CAS Nam June Paik, TV Garden Nam June Paik, TV Garden 70 Introduction by John G. Hanhardt Introduction de John G. Hanhardt “Preserving the Immaterial” excerpts Extraits de « Preserving the Immaterial » Meg Webster, Stick Spiral Meg Webster, Stick Spiral 78 Introduction by Carol Stringari Introduction de Carol Stringari “Preserving the Immaterial” excerpts Extraits de « Preserving the Immaterial » Ken Jacobs, Bitemporal Vision: The Sea Ken Jacobs, Bitemporal Vision : The Sea 86 Introduction by Jon Gartenberg Introduction de Jon Gartenberg “Preserving the Immaterial” excerpts Extraits de « Preserving the Immaterial » Felix Gonzalez-Torres, Public Opinion Felix Gonzalez-Torres, Public Opinion 92 Introduction by Nancy Spector Introduction de Nancy Spector “Preserving the Immaterial” excerpts Extraits de « Preserving the Immaterial » Grahame Weinbren and Roberta Friedman, Grahame Weinbren et Roberta Friedman, 100 The Erl King The Erl King Introduction by Jeff Rothenberg Introduction de Jeff Rothenberg Interview excerpts Extraits d’une entrevue Mark Napier, net.flag Mark Napier, net.flag 108 Introduction by Jon Ippolito Introduction de Jon Ippolito “Preserving the Immaterial” excerpts Extraits de « Preserving the Immaterial » RESOURCES RESSOURCES Variable Media Network Members Membres du Réseau des médias variables 116 Related Organizations Organismes connexes 118 Glossary Glossaire 123 Preface Jean Gagnon Préface Jean Gagnon Since its founding, the Daniel Langlois Foundation Pour la fondation Daniel Langlois pour l’art, la for Art, Science, and Technology has considered science et la technologie, la préservation des œuvres the preservation of electronic and digital artworks d’art électronique et numérique a toujours constitué a pressing matter. But it took some years before une préoccupation primordiale. Il a tout de même we received any project demonstrating a truly fallu quelques années avant qu’un projet vraiment innovative approach to this issue. novateur lui soit proposé à cet égard. When the Solomon R. Guggenheim Museum sub- Le projet Réseau des médias variables du Solomon R. mitted the Variable Media Network project based Guggenheim Museum, qui repose sur le paradigme on the paradigm proposed by Jon Ippolito, the avancé par Jon Ippolito, conservateur associé des arts museum’s Associate Curator of Media Arts, we médiatiques de cet établissement, a le potentiel de recognized the project’s potential as a model for servir de modèle pour aborder la question de la pré- approaching the issue of preserving nontraditional servation des œuvres d’art réalisées à l’aide de médias media artworks. The project was particularly valu- non traditionnels. Le projet est d’autant plus valable able because it enabled research that was greatly qu’il suppose la tenue de recherches cruciales dans le needed in the field of art preservation. domaine de la préservation en art. To the Guggenheim’s original proposal, we added La fondation a introduit un élément à la proposition a component: an actual emulation test case to originelle du musée : une étude de cas dans laquelle preserve a digital work. We felt that while there la stratégie employée reposera sur l’émulation pour have been many theories and discussions on pre- préserver une œuvre numérique. Malgré les maintes serving digital and dynamic artworks, there was a théories et discussions au sujet de la préservation des need for practical, emulation experiments from œuvres d’art numérique, interactive et dynamique, which much knowledge could be gained. nous estimions indispensable la tenue d’essais pra- tiques d’émulation. Il en résulterait incontestable- We are proud to be forging this research partner- ment une mine de connaissances. ship with the Guggenheim Museum and to be enriching and helping disseminate our knowledge. Nous sommes fiers de forger ce partenariat de This publication, accompanied by a Web site and recherche avec le Guggenheim Museum et ainsi an online database, is integral to our goal of shar- enrichir nos connaissances et contribuer à leur diffu- ing information and directly involving the communi- sion. La présente publication n’est qu’un début. ties and institutions concerned with preservation. S’y conjugueront des éléments en ligne, un site Web et une base de données, tous partie intégrante de notre objectif de partager le savoir et de faire inter- venir directement les collectivités et institutions concernées. Jean Gagnon is Executive Director, The Daniel Langlois Jean Gagnon est directeur général de la fondation Daniel Langlois Foundation for Art, Science, and Technology, Montreal. pour l’art, la science et la technologie, Montréal. 5 Introductions The Challenge of Variable Media Challenge of Variable The Mark Napier, net.flag, 2002 2002 version, accessed March 2003 at netflag.guggenheim.org Solomon R. Guggenheim Museum, New York Mark Napier, net.flag, 2002 Version 2002, telle qu’accessible en mars 2003 à netflag.guggenheim.org Solomon R. Guggenheim Museum, New York The Challenge of Variable Media Le défi des médias variables John G. Hanhardt John G. Hanhardt The physical fragility of film, the changes in broad- La fragilité matérielle des films, l’évolution des médias cast media, the interactive experience of the électroniques de diffusion, l’expérience interactive Internet, the expansion of digital media: a rapidly d’Internet, l’expansion des médias numériques : transforming, mutating media environment chal- un environnement médiatique en mutation rapide lenges us as we seek to maintain a fundamental sollicite notre réflexion au moment où nous tentons intention—preserving the integrity of an artwork. de maintenir une intention fondamentale — préserver This publication describes one approach to this l’intégrité d’une œuvre d’art. La présente publication problem. This publication is not a how-to guide to propose une manière d’envisager ce problème. new media preservation but a collection of per- Cette publication n’est pas un guide d’utilisation spectives on an emerging paradigm, written by the précis de la marche
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