Accueil SÉMINAIRES Séminaire 2008

Séminaire 2008 : "Documentation and Conservation of Media Artworks"

Le troisième séminaire DOCAM Documentation and Conservation of Media Artworks, offert par Sylvie Lacerte, s'est déroulé au département de Art History and Communication Studies à l’Université McGill du 7 janvier au 14 avril 2008. Ce séminaire a été élaboré conjointement avec Will Straw, Professeur à l’Université McGill et président du Comité pédagogique DOCAM (2008).

 

Vous trouverez ci-dessous :

Le curriculum du cours

Les présentations vidéos de deux intervenantes

Les essais des étudiants

 

*Il est à noter que tous les textes et les présentations sont en anglais, puisque le séminaire était dispensé sous l’égide de l’Université McGill.

 

Curriculum du cours / Course description

Documentation and Conservation of Media Artworks / Documentation et conservation des Arts Médiatiques

Course lecturer : Dr Sylvie Lacerte

 

Lire la suite : Curriculum du cours / Course description

 

The Variable Media Initiative


7 janvier 2008

Alain Depocas, directeur de l’Alliance de Recherche DOCAM et Centre de Recherche et Documentation (CR+D), la fondation Daniel Langlois pour l’art, la science et la technologie

* Veuillez noter que cette présentation est en anglais.
Alain Depocas © DOCAM 2008

Lire la suite : The Variable Media Initiative

 

History of technology and presentation of DOCAM’s Timeline

14 janvier 2008

Will Straw, McGill University

* Veuillez noter que cette présentation est en anglais.
Will Straw © DOCAM 2008

Lire la suite : History of technology and presentation of DOCAM’s Timeline

 

Curating media art, documenting installation and participation


21 janvier 2008

Jean Gagnon, Directeur de la Fondation Daniel Langlois

* Veuillez noter que cette présentation est en anglais.
Jean Gagnon © DOCAM 2008

Lire la suite : Curating media art, documenting installation and participation

 

Historiography and theory of documentation and conservation of media art


4 février 2008

Sylvie Lacerte, Coordonnatrice de l’Alliance Docam

* Veuillez noter que cette présentation est en anglais.
Sylvie Lacerte © DOCAM 2008

Lire la suite : Historiography and theory of documentation and conservation of media art

 

Metadata and Thesaurus

11 février 2008

James Turner, EBSI, Université de Montréal

* Veuillez noter que cette présentation est en anglais.
James Turner © DOCAM 2008

Lire la suite : Metadata and Thesaurus

 

Cataloguing case studies at the Musée d’art contemporain de Montréal


17 mars 2008

Anne-Marie Zeppetelli, Musée d’art contemporain de Montréal

* Veuillez noter que cette présentation est en anglais.
Anne-Marie Zeppetelli
© DOCAM 2008

Lire la suite : Cataloguing case studies at the Musée d’art contemporain de Montréal

 

A collaboration artist/programmer


31 mars 2008

Alexandre Castonguay, artiste
Mathieu Bouchard, programmeur      

* Veuillez noter que cette présentation est en anglais.
Alexandre Castonguay
© DOCAM 2008

Lire la suite : A collaboration artist/programmer

 

Essais des étudiants

Voici une sélection des essais des étudiants qui ont assisté au séminaire DOCAM 2008 "Documentation and Conservation of Media Artworks", offert par Sylvie Lacerte, coordinatrice de l’Alliance DOCAM, à l'université McGill.

 

"Janet Cardiff’s Forty Part Motet: Preserving the Idea of a Reproducible Sound Experience" Sonia Brooks

Janet Cardiff’s Forty Part Motet presents an interesting study for the preservation of new media artworks from both theoretical positions of reproduction and technological and/or actual physical methods of preservation. Drawing on Walter Benjamin’s “The Work of Art in the Ages of Its Technological Reproducibility” as a theoretical framework, this paper will focus on exploring the ground between the preservation of this artwork as a piece of new media art, while examining the piece through its own basis in reproduction. As I will demonstrate, Cardiff approaches this piece solely as a work of conceptual art, which frees her from dealing with literal issues that later arise during the execution of the art. Forty Part Motet is a work of reproduction in and of itself; however, the way in which the work is executed, especially regarding its installations, causes the piece to fail in its ability to recreate a specific experience. I will also argue that exploration of these concepts and ideas are completely vital to the future preservation of this work of art.

Lire la suite : "Janet Cardiff’s Forty Part Motet: Preserving the Idea of a Reproducible Sound Experience" Sonia Brooks

 

"DOCAM Case Study: Corps Pédagogique by Manon De Pauw" Anik Laflamme

Preserving contemporary art today conveys new challenges for museums and exhibition spaces with the emergence of variable media. The knowledge of the technological aspects and the intellectual content of an artwork are essential in order to preserve its integrity and authenticity. In this regard, this case study explores Manon De Pauw’s video performance Corps Pédagogique, created and recorded on MiniDV in 2001, later purchased by the Musée d’art contemporain de Montréal (MACM) in 2007. By analysing the chemical, as well as the mechanical attributes of its original and of its exhibition formats, we hope to bring forward valuable information for the implementation of a strategy of conservation.

 

Lire la suite : "DOCAM Case Study: Corps Pédagogique by Manon De Pauw" Anik Laflamme

 

"Medium vs. Message: Another Way of Understanding the Preservation of Media Art" Paulina Mickiewicz

Discussions on how to preserve art are complex. This complexity lies in the fact that what we seek to preserve in art is not simply the art object in itself – the material entity that constitutes the artwork (a painting or a sculpture, for instance) – but we also seek to preserve the integrity of the artwork. In other words, those immaterial aspects that constitute an artwork that we cannot physically touch or feel but that could be understood as the various meanings, messages, or aesthetic experiences that an artwork conveys. Whether they contain video installations or computer based components, media artworks are increasingly affected by the rapidly changing technological environment in which we live. How then should we be approaching the preservation of media art? This paper will explore this question namely on the basis of certain theories on media put forth by Marshall McLuhan. Looking at the problem of the preservation of media art from a communications perspective could contribute to a better understanding of how we should approach and consider media artworks if we want to be successful in their preservation.

 

Lire la suite : "Medium vs. Message: Another Way of Understanding the Preservation of Media Art" Paulina Mickiewicz

 

"Assembling the Archival Document: A Case Study of David Rokeby’s Seen", Dina Vescio

This paper critically examines the Montreal Museum of Fine Arts’ archival document for David Rokeby’s Seen (2002) in order to justify “that collecting and archiving can be the beginning, rather than at the end for the critical life of an artwork,” as argued by Graham Beryl in his book Redefining Digital Art (2007). It provides a theoretical analysis based on the document and factual evidence pertaining specifically to Seen.

 

Lire la suite : "Assembling the Archival Document: A Case Study of David Rokeby’s Seen", Dina Vescio