Depocas, Ippolito, Jones (eds.): Permanence Through Change: The Variable Media Approach (2003) [English/French]

“Since its founding, the Daniel Langlois Foundation for Art, Science, and Technology has considered the preservation of electronic and digital artworks a pressing matter. But it took some years before we received any project demonstrating a truly innovative approach to this issue.

When the Solomon R. Guggenheim Museum submitted the Variable Media Network project based on the paradigm proposed by Jon Ippolito, the museum’s Associate Curator of Media Arts, we recognized the project’s potential as a model for approaching the issue of preserving nontraditional media artworks. The project was particularly valuable because it enabled research that was greatly needed in the field of art preservation.

To the Guggenheim’s original proposal, we added a component: an actual emulation test case to preserve a digital work. We felt that while there have been many theories and discussions on preserving digital and dynamic artworks, there was a need for practical, emulation experiments from which much knowledge could be gained.

We are proud to be forging this research partnership with the Guggenheim Museum and to be enriching and helping disseminate our knowledge. This publication, accompanied by a Web site and an online database, is integral to our goal of sharing information and directly involving the communities and institutions concerned with preservation.” (Jean Gagnon, Preface)

Permanence Through Change: The Variable Media Approach / L’approche des médias variables : la permanence par le changement
Edited by Alain Depocas, Jon Ippolito, and Caitlin Jones
Preface by Jean Gagnon
Published by the Solomon R. Guggenheim Museum, in New York, and the Daniel Langlois Foundation, in Montreal, 2003
ISBN: 0-9684693-2-9
138 pages

publisher

PDF
PDF (PDF articles)

nØ1se exhibition catalogue (2000)

Catalogue for the multi-site multimedia exhibition in Cambridge and London (January-May 2000), devised by artist, Adam Lowe, and, historian of science, Simon Schaffer, and organised around three key themes in “digitality”:

Universal Language
Pattern Recognition
Data Synæsthetics

nØ1se is not limited to electronic media, but traces the digital imagination from such myths as Noah’s Ark, through the early modern experiments of Charles Babbage’s Difference Engine and Morse’s Telegraph, up to today’s charge coupled devices (CCDs), robotics and beyond.. It highlights digitality in history, technology, art and science, drawing upon a wide range of objects and images from artists and scientists around the globe — everything from 3000BC artefacts to the latest state-of-the-art pictures of the surface of atoms.

Catalogue contributors: Tabatha Andrews, William Armstrong, Art and Language, Charles Babbage, Stephen Baker, Joe Banks, Richard Barbrook, William Bateson, Evgen Bavcar, Robin Boast, Patrick Blackett, Jerry Brotton, Soraya de Chadarevian, Adrian Cussins, Su Dalgleish, John Dee, Umberto Eco, Richard Feynman, Manuel Franquelo, Peter Galison, Joy Garnett, Merrill Garnett, Joseph Grigely, Roger Guillemin, Sebastian Guillié, Mercurius Van Helmont, Lynn Hershman, Jeff Hughes, Margaret Watts Hughes, Lisa Jardine, Bill Jones, Athanasius Kircher, Bruno Latour, Malcom Longair, Mike Lynch, Paul D Miller (aka DJ Spooky), Iwan Morus, Gracie Ngale Morton, Sven Nebel, Joseph Nechvatal, Ben Neill, Pictic Balls, Roy Porter, Marc Quinn, Jonathan Ree, Michael Rees, Giles Revell, Kathleen Rogers, Romandson, Brian Rotman, Stan Vanderbeek, Tom Van Sant, Ludwig Von Siegen, Julian Simmons, Nicola Schwartz, Lillian Schwartz, Robert Shannon, Bessie Nakamarra Sims, Paddy Japaljarri Sims, Brian Cantwell Smith, Luc Steels, Bruce Sterling, Jozue Tanaka, John Tchalenko, Dave Tovee, John Tresch, Burhan Tufail, John Tresch, Catherine Wagner, Piers Wardle, Peter Weibel, CTR Wilson, John Wilkins, John Woodward, Charles Wynn-Williams.

Edited by Alfred Birnbaum
Conceived of and designed by Adam Lowe
Published by Kettle’s Yard, Cambridge UK, 2000
ISBN: 0907074782, 978-0907074786
118 pages

exhibition website

View online (Section 1; HTML articles)
View online (Section 2; HTML articles)
View online (Section 3; HTML articles)

PAGE, 1-71 (1969-1985, 2004-2014)

“PAGE is the bulletin of the Computer Arts Society.

The Computer Arts Society was one of the most influential British computer art groups. It was founded in 1968, followed by an inaugural exhibition, Event One, in March 1969 at the RCA. George Mallen, Alan Sutcliffe and Lansdown set up CAS as an offshoot of the British Computer Society, to further the use of computers by artists. CAS flourished through the 1970s and early 80s.

PAGE was initially published from April 1969 until 1985 and was named after the concept of paging (the use of disk memory as a virtual store which had been introduced on the Ferranti Atlas Computer). It featured major British and international computer artists and hosted some fundamental discussions as to the aims and nature of computer art. Its first editor was Gustav Metzger, thereby establishing from the beginning an association with the avant-garde. Metzger was ‘excited’ to discover CAS and ‘people coming together’ as he had ‘felt quite isolated.’ As early as 1961, Metzger had stated that ‘…the artist may collaborate with scientists, engineers.’ As many members were outside of London or overseas, PAGE was an important disseminator of information.”

Publisher Computer Arts Society, London

Publisher

PDFs (1969-1985 & 2004-2014, updated on 2017-12-2)
PDFs (1969-1985)