FINAL CALL FOR PAPERS -- Archiving the
Arts symposium (New York University - October 13, 2012)
For a downloadable version and more
information, please visit www.amiastudentsnyc.com/committees-2/on-going-projects/archiving-the-arts/
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.
FINAL
CALL FOR PAPERS --
ARCHIVING THE ARTS
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 NYU.AMIA@gmail.com 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?
*JUST ADDED*
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?
