Annet Dekker (ed.): Archive2020 – Sustainable Archiving of Born-Digital Cultural Content (2010)

The term ’born digital’ is closely related, maybe even synonymous, with the term ‘natively digital’. This term is often used as reference to the object of study in the academic research of the Internet that gives focus to digital methods. In other words, research strategies that follow the specifics of the Internet as a medium. In this context the term refers to digital materials that are specific, and/or born into the Internet, like the link and the tag, and devices, like search engines, and opposed to those materials that have migrated to it, in other words, have been digitally reformatted.

“We have asked several stakeholders from different disciplines to write down their experiences, findings and solutions. These specialists from the area of born-digital preservation and archiving reflect on the current state of affairs in their specific field and identify the most pressing concerns. Established Internet artist Martine Neddam elaborates on the challenges an Internet artist faces over the years, from domain name registration expirations, to database back-ups, recent updates and much more. Researchers and artists Anne Laforet, Aymeric Mansoux and Marloes de Valk explain the benefits of using FLOSS and open standards for preserving born-digital material. Florian Cramer, lecturer at the Piet Zwart Institute in Rotterdam, reflects on the PRINT/pixel international conference that was organized in May 2009, and discusses the issue of digital print material. Departing from the closure of two important advocates for media art preservation – the Daniel Langlois Foundation and the Ludwig Boltzmann Institute – Canadian researcher and writer Caitlin Jones focuses on the issue of responsibility for keeping our media art heritage alive. Gaby Wijers, head of Collection and Conservation at NIMk, Amsterdam and Gabriele Blome, art historian, University of Siegen, Germany, shed light on the first internationally shared online archive GAMA – the Gateway to European Media Art. Australian curator and researcher Lizzie Muller draws attention to the importance of capturing audience experiences when dealing with the preservation of born-digital cultural material. Jeroen van Mastrigt, lecturer at the Art, Media and Technology Faculty of the Utrecht School of the Arts (HKU-KMT) in Hilversum, discusses archiving strategies in gaming.”

Compiled and edited by Annet Dekker
with chapters by Annet Dekker, Martine Neddam, Anne Laforet, Aymeric Mansoux, Marloes de Valk, Florian Cramer, Caitlin Jones, Gabriele Blome, Gaby Wijers, Lizzie Muller, Jeroen van Mastrigt, Maurits van der Graaf, Gerhard Nauta
Publisher Virtueel Platform, Amsterdam, 2010
Creative Commons BY-NC-ND 3.0 NL License
ISBN 9789490108045
112 pages

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See also Speculative Scenarios, or What Will Happen to Digital Art in the (Near) Future?, 2013.

Stephen Travis Pope: Sound and Music Processing in SuperCollider (1998)

SuperCollider is a powerful and flexible programming language for sound and image synthesis and processing. It was developed by James McCartney of Austin, Texas, and is the result of more than five years of development, including the Pyrite and Synth-omatic systems from which SuperCollider is derived. The somewhat odd name of the language is derived from its creator’s obsession with the superconducting supercollider project that was planned to be undertaken in his home state of Texas, but never funded.

The SuperCollider compiler and run-time system has been implemented on Apple Macintosh and Be computers (more ports are projected), and can execute quite complicated instruments in real time on “middle-class” Macintoshs (see the notes below on its performance). This book is a step-by-step tutorial on SuperCollider programming; it is aimed at musicians who want to use it for musical sound synthesis and processing.

“This book is an introduction to the SC language aimed at readers who have some programming background (such as knowing another sound synthesis language or a general-purpose language like C or Smalltalk). It is not meant to substitute for the SC manual, to which I indeed refer the reader in numerous places.”

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Mediamatic Magazine (1985-2000) & Mediamatic Off-Line (2000-2007)

Mediamatic was established in 1985 as a meeting place for television- and videoartists and theorists. A year later Mediamatic Magazine was born: an internationally published quarterly about art and new media. It quickly acquired a legendary status among new media lovers around the world. From 1993 on Mediamatic was present on the internet and every Mediamatic Magazine was supplemented with a cd-rom.

In 2000 Mediamatic continued its publications under the title Mediamatic Off-Line. Mediamatic Off-Line was an irregularly appearing series, always connected to an autonomous artistic project that was presented on the accompanying cd-rom or dvd. Mediamatic published some now (in)famous cd-roms created by Gerald van der Kaap, JoDi, Doors of Perception and Florian Thalhofer. The last edition of Mediamatic Offline appeared in 2007.

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