Futuros Possíveis/ Possible Futures

Arte, Museus e Arquivos Digitais


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Call to action: Trigésima Bienal de São Paulo / Call to action: Thirtieth São Paulo Biennial

A palestra “Call to action: Trigésima Bienal de São Paulo” abordará as múltiplas estratégias utilizadas pela Fundação Bienal de São Paulo para incorporar ao site da exposição a gigantesca produção de conteúdos realizada espontaneamente por seu público durante o evento em diversas plataformas tais como Facebook, Twitter, Instagram, Tumblr, Pinterest e tantas outras, cada vez mais populares e vinculadas a plataformas móveis, em oposição ao desenvolvimento de ferramentas tradicionais.

André Stolarski


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Arquivos digitais: a experiência do Acervo Videobrasil/ Digital archives: The Videobrasil experience

A recorrência, cada vez mais frequente, de obras efêmeras, criadas a partir de processos digitais, resultou na constituição de acervos pequenos e abrigados fora de instituições museológicas. No Brasil, o Acervo Videobrasil, é formado em 1991, com o objetivo de guardar os documentos e obras do Festival Internacional de Arte Eletrônica, criado em 1983. Juntamente, com outros centros de mídia e festivais nacionais e internacionais, fundados entre os anos 70 e 80, o Videobrasil assume o papel de preservar e difundir sua coleção de vídeo e performance. A falta de procedimentos para transcrever, traduzir e armazenar os documentos artísticos contemporâneos em arquivos digitais, e a urgência em gerir a documentação residual das exposições de arte contemporânea têm intensificado a investigação teórica e artística em torno do arquivo de arte que tem como problema fulcral, hoje, delimitar-se diante do espaço virtual.

The recurrence, more and more frequent, of ephemeral works, created through digital procedures, resulted in the establishment of small collections sheltered outside museological institutions. In Brazil,  Videobrasil Collection was founded in 1991 with the purpose of  storaging  documents and works produced for the International Festival of Electronic Art, created in 1983. Along with other media centers and national and international festivals, founded between the 70’s and 80’s, Videobrasil has played the role to preserve and disseminate it’s collection of video and performance. The lack of procedures to transcribe, translate and store contemporary art documents into digital files, and the urgency to manage the residual documentation of contemporary art exhibitions have intensified theoretical and artistic research around the art archive, which has as core problem today, i.e., to confine itself in the virtual space.

Ana Pato

<div style=”margin-bottom:5px”> <strong> <a href=”http://www.slideshare.net/futuros_possiveis/ana-pato-arquivos-digitais-a-experincia-do-acervo-videobrasil-digital-archives-the-videobrasil-experience&#8221; title=”Ana Pato – Arquivos digitais: a experiência do Acervo Videobrasil/ Digital archives: The Videobrasil experience” target=”_blank”>Ana Pato – Arquivos digitais: a experiência do Acervo Videobrasil/ Digital archives: The Videobrasil experience</a> </strong> from <strong><a href=”http://www.slideshare.net/futuros_possiveis&#8221; target=”_blank”>Simposio Internacional Futuros Possíveis | International Symposium Possible Futures</a></strong> </div>


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Estratégias de Conservação e Humanidades Digitais/ Conservation Strategies and Digital Humanities

La conservación de arte contemporáneo propone nuevos retos y necesidades para comprender, gestionar y transmitir propuestas artísticas, ideas y conceptos para los que es necesario conocer el entorno y el contexto de creación. Las Humanidades Digitales permiten establecer relaciones, cuantificar y describir datos dentro de múltiples variables, aprovechando la experiencia colectiva, el aprendizaje continuo y la reflexión compartida en el procesamiento de la información y en la optimización del conocimiento. El uso de herramientas tecnológicas facilita la creación de comunidades de colaboración y el intercambio de este conocimiento, mejorando la visibilidad de proyectos, la comprensión de criterios y la calidad de los resultados. A través de estos procesos, se pretende mejorar el nivel de comprensión y el conocimiento de variables para establecer criterios de actuación innovadores, que mejoren los protocolos de conservación en colecciones de arte contemporáneo.

Arianne Vanrell Vellosillo


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O Arquivo do Ars Electronica: um perfil de mídia e arte digital / Ars Electronica Archive: a profile of media and digital art

The Ars Electronica Archive contains a diverse assemblage of artistic works and documentation of projects, exhibitions, and activities over a timeframe of more than 30 years in the wide-ranging international field of electronic and digital art. The broad substantive spectrum of the content is matched by its tremendous diversity of physical and digital formats, which constitutes a substantial challenge for the archivist. Whereas there are proven methods for conserving physical objects, long-term archiving of digital data still raises countless issues.

With the reopening of Ars Electronica in January 2009, the archive had for the first time a climate-controlled room at its disposal, where ca. 60.000 physical records, such as video- and audio recordings, photographs, works on paper and print material, are located in over 378 meters of shelf space. It offers not only a representative cross-section of the broad field of media & digital art; it is also a historical catalog of the data storage media and formats that in many cases significantly determine the appearance of the works itself.

Now, after various digitization projects since the 1990s and migrations of older data logs, also all the entries for the Prix Ars Electronica submitted online in every year are being transferred to the archive automated. Digital photographs are archived directly and, via an interface, made public on social media sites. The archive has thus been brought to life! It no longer just conserves glimpses of bygone days; it’s constantly being updated with new material. It’s a direct repository of all currently published photos including their metadata, and thereby makes them (re)searchable. The ongoing input of current visual material with no lag time makes it possible to conserve important information that might otherwise be lost.

Additional work has been done on of age material from the history of Ars Electronica in conjunction with Austrian and international research projects. Museum subsidies from the Austrian Federal Ministry of Education, Art and Culture have made it possible to physically conserve various collections of analog photographs, to inventory and digitize them, and add them to the research databank. “Digitising Contemporary Art”, a three-year project being carried out in cooperation with 25 European partner institutions and funded by the European Union, is producing high-quality digital reproductions as well as strategies for long-term archiving. The Ars Electronica Archive is making a substantial contribution to this project by creating approximately 2,600 digital objects (including metadata) documenting Prix Ars Electronica prizewinners and making this material available. This content, which includes much audiovisual material about the projects, can also be accessed via the www.archive.aec.at online portal. Some of this information is being conveyed by Austria’s Kulturpool to Europeana www.europeana.eu to thereby become a part of Europe’s largest online art collection.

In conjunction with this year’s Ars Electronica Festival THE BIG PICTURE, the Ars Electronica Archive an makes its contents publicly accessible online and in a tangible version. A multi-touch table provides guests with a look at the festival’s fascinating history. Additional terminals offer a convenient way to browse through all the online holdings.

Gerfried Stocker


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Ana Pato

Ana Pato é mestra em Artes Visuais pela Faculdade Santa Marcelina (2011), formou-se em Comunicação Social pela Fundação Armando Alvares Penteado (1994) e tem especialização em administração na cultura pela Fundação Getúlio Vargas (1996). É autora do livro Literatura expandida: o arquivo e a citação na obra de Dominique Gonzalez-Foerster (a ser lançando em dezembro 2012). Atua na área de gestão cultural e é diretora executiva da Associação Cultural Videobrasil, onde começou a trabalhar em 2000. Entre os principais projetos que coordenou no Videobrasil estão: a estruturação e implementação do banco de dados online do Acervo Videobrasil (2002-2005, com atualização técnica em 2012), e direção executiva das exposições dos artistas Sophie Calle (2009), Joseph Beuys (2010), Olafur Eliasson (2011) e Isaac Julien (a inaugurar em setembro de 2012), além de quatro edições do Festival Internacional de Arte Contemporânea SESC_Videobrasil (2001, 2005, 2007 e 2011) e duas exposições dedicadas a arte contemporânea africana (2000 e 2005).

Ana Pato has a MA in Visual Arts by the Faculdade Santa Marcelina (2011), and is graduated in Social Communication at Fundação Armando Alvares Penteado (1994). She also holds a graduate specialization in cultural management by the Fundação Getúlio Vargas (1996). She is the author of the book Literature expanded: the archive and quote in the work of Dominique Gonzalez-Foerster (to be launched in December 2012). She works in the area of cultural management and is executive director of the Associação Cultural Videobrasil, since 2000. Among the main projects that she has coordinated in Videobrasil are: the structuring and implementation of the online database of Videobrasil Collection (2002-2005, with technical upgrade in 2012), and executive director of exhibitions of artists Sophie Calle (2009), Joseph Beuys (2010), Olafur Eliasson (2011) and Isaac Julien (opening in September 2012), in addition to four editions of the Festival Internacional de Arte Contemporânea SESC_Videobrasil (2001, 2005, 2007 and 2011) and two exhibitions dedicated to contemporary African art (2000 and 2005).