Wednesday, April 25, 2012

FINAL CALL FOR PAPERS -- Archiving the Arts symposium (New York University - October 13, 2012)

FINAL CALL FOR PAPERS -- Archiving the Arts symposium (New York University - October 13, 2012)

For a downloadable version and more information, please visit

The Association of Moving Image Archivists Student Chapter at New York University and Independent Media Arts Preservation invite submissions for…

Archiving the Arts: addressing preservation in the creative process

This symposium will explore the relationship between media artists and audiovisual archivists. Archiving the Arts calls for a dialogue in order to enhance mutual understanding between the two constituencies. By exposing these communities to best practices, working methods, and the technological and industry-specific realities faced by members of each group, we hope to foster a discussion, improve current conditions, and widen awareness of preventative preservation for the long term.

The problems associated with preserving born-digital works combined with the threat of media obsolescence intensify the urgency of preemptive preservation practices. Film and video archivists know all too well the risks media artworks face. At the same time, artists face the same concerns—not only with completed works, but also with the raw materials of film, video, audio, and digital objects, which are essential to artists’ ongoing creative process. But often these two groups lack a common language and a way for their communities to interact and develop tools to serve all parties. Archivists don’t necessarily understand the creative process. Artists don’t always think about their work in terms of its preservation.

Archiving the Arts promotes dialogue between working professionals, artists, students, and other interested parties whose goal is to prevent avoidable loss of creative works by integrating preservation strategies into moving image creation and production.

This day-long symposium of panels, screenings, and workshops will tackle the practical, theoretical, and technical issues that affect the artist and the archivist. Working across disciplines will spark a dynamic conversation and create a deeper understanding of the importance of preventative preservation.

Please see the Call for Papers submission information and join us on October 13, 2012 during Archives Week in New York City. Follow @AMIAatNYU or #ata12 on Twitter for updates.


The AMIA Student Chapter at New York University invites presentation proposals for Archiving the Arts, to be held jointly with IMAP in New York City on Saturday, October 13, 2012 as part of New York Archives Week organized by Archivists Round Table of Metropolitan New York.

Please submit a 250-word proposal to Kathryn Gronsbell at Priority will be given to submissions received by Friday, May 4, 2012.
FINAL DEADLINE for submissions is Friday, July 13, 2012.

We welcome papers, presentations, workshops, and posters on all issues concerning artists and audiovisual archivists. Possible topics include:

Preventative Preservation
How do we integrate preservation strategies into creation? What are the benefits? What are the disadvantages?

Technically Speaking – creating & ingesting born-digital objects
What are the technical issues/specs regarding metadata crawling, signal problems, and the application of preventative preservation to production?

Temporal Art
How does ephemeral art act as a counterargument to preservation? How do conservators work with artists who wish to intentionally destroy or abandon their own work? How do artworks restricted to a single format survive for posterity?

From the Studio to the Archive
How do artists' intentions affect collection development? Archive policies and practices?

Growing an “Organic” Archive
“Organic” archives are repositories that develop from the intentions and desires of the contributing artist(s). How are artists and archivists working (or not working) together to create this type of archival system? What is known about existing “Organic” archives, and what methods can be used to expand their potential?

Put Your Best Fail Forward
Share your unique collection/archival challenges that were not resolved, and why. Artists – what attempts have you made to ensure the welfare of your work? Is there a disconnect between theory and practice?


Rewriting History & the Changing Role of Artists in Archives
What are the effects of artists revisiting their work post-acquisition? What ethical or archival issues arise when artists wish to “improve” or alter existing elements of the work? What are the possible benefits?