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ABOUT THE CONSERVING COMPUTER-BASED ART INITIATIVE (CCBA) Background e Conserving Computer-Based Art initiative (CCBA) is an ongoing, practice- based research project that focuses on the preservation needs of computer-based artworks in the Guggenheim’s collection. e CCBA initiative began in an attempt to address issues like hardware failure, rapid obsolescence, and the lack of established best practices, all of which put computer-based artworks in the collection at high risk. e ultimate goal of the initiative is to save these artworks for future generations to experience. e CCBA initiative continually explores innovative research questions related to the care of computer-based artworks in order to catalyze the development of best practices for both collected works and future acquisitions. e structure of the initiative involves the museum’s CCBA Fellowship, the ongoing academic-museum collaboration between New York University’s New York University’s New York University’s New York University’s New York University’s New York University’s New York University’s New York University’s New York University’s New York University’s New York University’s Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science Department of Computer Science and the Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Guggenheim’s Conservation Department Department Department Department Department Department Department Department Department Department Department, and the work of the museum’s conservation staff, fellows, and interns. e initiative disseminates its findings to the conservation field at large through presentations and publications in an effort to improve practices for handling computer-based art at the Guggenheim and beyond. What Is Computer-Based Art? Computer-based art, also known as software-based art or digital art, describes artworks in which computer hardware and software is employed as a creative medium and is integral to the exhibition of the artwork. Computer-based art can include websites created as art, artist-written software or scripts, and artist-created microcontroller units. e museum’s holdings include computer-based works by Paul Chan Paul Chan Paul Chan Paul Chan Paul Chan Paul Chan Paul Chan Paul Chan Paul Chan Paul Chan Paul Chan, Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang Shu Lea Cheang, Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas Paul Ramírez Jonas, John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., John F. Simon Jr., Phoebe Phoebe Phoebe Phoebe Phoebe Phoebe Phoebe Phoebe Phoebe Phoebe Phoebe Washburn Washburn Washburn Washburn Washburn Washburn Washburn Washburn Washburn Washburn Washburn, Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu Sun Yuan and Peng Yu, and many other artists. ese artworks utilize a variety of technologies including HTML, JavaScript, Adobe Flash animations, virtual reality headsets, custom-built microcontroller units, and computer- controlled industrial robots. Computer-based artworks in the collection relate to such trends and movements as networked art networked art networked art networked art networked art networked art networked art networked art networked art networked art networked art, Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism Neo-Conceptualism, and site-specific art site-specific art site-specific art site-specific art site-specific art site-specific art site-specific art site-specific art site-specific art site-specific art site-specific art. How Do Museums Conserve Computer-Based Artworks? e long-term preservation of computer-based artworks remains challenging. ese works inevitably face both hardware and software obsolescence. In addition, computer hardware that may be required to run the artwork suffers physical deterioration over time. Unlike paintings and sculptures, these works cannot simply be placed on a shelf; they can quietly break or die without anyone noticing until it’s too late. Conservation staff must manage the challenge of what Deena Engel describes as “ ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent ongoing digital innovation and the resulting inherent instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks, instability of digital artworks,” while maintaining their artistic integrity and documenting their various iterations over time. Conservation staff can implement several strategies to preserve these artworks for the long term. As with other artworks, the conservation of computer-based works requires rigorous examination and documentation of the “original substance,” an artwork’s technical composition including its constituent parts and artist-intended behaviors and functionality. While creating documentation, conservators analyze the work to identify its vulnerabilities, for example, its dependence on a specific operating system, a specific piece of software, or customized hardware. Conservators must understand the technical dependencies of the artwork and must also identify and secure the proper resources for the long-term preservation (such as specific hardware and peripherals, source code, executable programs, or media assets like video or audio files). ese physical and digital components often vary depending on the technology employed in the artwork. During an artwork’s acquisition, conservators copy the data necessary for reexhibiting the artwork from physical storage media (such as computer hard drives, optical discs, and floppy disks) before the data becomes inaccessible. Conservators then move this data to preservation storage, where multiple copies are kept and monitored for data integrity. As with other time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks, instability and change are inherent to computer-based works. Each installation may be considered a different representation of the artwork and conservators must proactively manage the degree of change that may be introduced into each iteration. Over time, computer-based artworks may require conservation treatment to restore their public accessibility or ready them for exhibition or loan. Conservators first assess what effect a possible conservation treatment, such as migration or emulation, would have on the intended behaviors of an artwork and determine, typically in collaboration with the artist, which visible and invisible changes to the artwork would be acceptable, without compromising the artwork’s integrity. Conservators carry out or supervise a treatment, which may involve methods such as code migration, emulation or virtualization, or creating replica computers. CCBA Research Team Lena Stringari Lena Stringari Lena Stringari Lena Stringari Lena Stringari Lena Stringari Lena Stringari Lena Stringari Lena Stringari Lena Stringari Lena Stringari, Deputy Director and Chief Conservator Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz Jonathan Farbowitz, Fellow in the Conservation of Computer-Based Art Deena Engel Deena Engel Deena Engel Deena Engel Deena Engel Deena Engel Deena Engel Deena Engel Deena Engel Deena Engel Deena Engel, Clinical Professor in the Department of Computer Science at the Courant Institute of Mathematical Sciences, New York University CCBA Fellowship In 2016 the Guggenheim raised funds to create a postgraduate fellowship dedicated to addressing the needs of the computer-based artworks in the collection. Jonathan Farbowitz was appointed as the Guggenheim’s CCBA Fellow in December 2016 and began surveying and backing up computer-based works in the collection—creating disk images of artist-provided hardware and software and identifying high-risk pieces requiring immediate treatment. Farbowitz supported the restorations of web artworks Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon (1998–99) (1998–99) (1998–99) (1998–99) (1998–99) (1998–99) (1998–99) (1998–99) (1998–99) (1998–99) (1998–99) and Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object (2002) (2002) (2002) (2002) (2002) (2002) (2002) (2002) (2002) (2002) (2002). He has also developed workflows for archiving computer-based artworks. e Guggenheim continues to collect these works, and Farbowitz has actively participated in new acquisitions. METHODOLOGY Collection Survey and Backup Several computer-based artworks in the collection are approaching their second decade of life, but the computer hardware required to run them was never designed to last that long. As a first step, the data stored on artist-provided computers or disks must be moved from aging physical media into safer storage. Begun in December 2016, surveying and backing up the collection has been a central goal of the CCBA Fellowship. As part of the collection survey and backup, disk images were created from physical storage media, such as hard drives, floppy disks, and optical discs. A disk image is a digital file that is an exact copy, bit-for-bit, of a piece of a physical storage media saved as a single digital file. When imaging a hard drive, conservators connect the drive to a write blocker, which ensures that the drive’s data won’t be altered during imaging. e resulting disk image file is then stored for preservation. e conservator that created the disk image completes a Disk Imaging Report to record details of the process. e report also contains quality control tests for the disk image. However, in certain cases, simply preserving data from physical storage media alone will not provide sufficient resources for future reexhibition or migration of the artwork, and conservators must employ multiple strategies for long-term preservation. Resources: GUGGENHEIM DISK IMAGING WORKFLOW (PDF) DISK IMAGING REPORT: HARD DRIVE, FLASH DRIVE, OR MEMORY CARD (PDF) DISK IMAGING REPORT: FLOPPY DISK (PDF) DISK IMAGING REPORT: OPTICAL DISC (PDF) Nearly as important as capturing the artist-created software itself is generating and storing proper cataloguing information and metadata (information about the data). Future conservators must understand what each of the digital files related to the artwork represents. Proper metadata also contextualizes the digital materials being preserved for future conservators, curators, and researchers. At the Guggenheim, artworks are catalogued and broken down into components for entry into the museum’s collection management system. However, computer- based artworks present challenges for collection management systems that were primarily designed to catalogue unique physical objects. Conservation staff must create new standardized vocabularies around the digital elements needed to reexhibit an artwork. e relationships between the work’s different digital components (as well as their relationships to physical components) must also be captured in detail. e CCBA initiative seeks to advance practices in all of these areas. Resources: Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) Sample Spreadsheet of Components for CCBA Artworks (Excel document) ACQUISITION CHECKLIST: COMPUTER-BASED ARTWORK WITH ARTIST-PROVIDED COMPUTER (PDF) ACQUISITION CHECKLIST: WEB ARTWORK (PDF) ACQUISITION CHECKLIST: COMPUTER-BASED ARTWORK WITH MICROCONTROLLER (PDF) Source Code Analysis Part of the ongoing collaboration between the Guggenheim and New York University’s Department of Computer Science involves conducting source code analysis of artworks. Source code is the computer code originally written by the artist or their technician and represents the logic and instructions for how an artwork will function. Source code is often compiled to create an executable file or set of files that run the artwork. rough reading the source code, one can understand all the intended behaviors of a computer-based artwork, many of which would be imperceptible when viewing the work. For example, if the artwork incorporates random selections of images or sounds, the source code will specify this behavior. In order to read the source code, one must understand the programming language used. Currently, most conservators do not have training to do so, and collaboration with colleagues in computer science has become necessary. Source code analysis can be likened to the technical analysis conducted by other conservation specialties, for example, investigating the layers of paint on a canvas. Understanding the source code of a computer-based artwork allows conservators to fully document the anatomy of the artwork, its behaviors, and its significant properties. Understanding how an artwork functions (through knowledge of its code) also influences future conservation decisions. Documentation Like other time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks time-based media artworks, computer-based works are documented through Identity Reports and Iteration Reports. Resources: IDENTITY REPORT FOR “CAN’T HELP MYSELF” (2016) BY SUN YUAN AND PENG YU (PDF) However, these artworks require additional forms of documentation. e CCBA initiative has investigated methods to document the hardware and software dependencies of computer-based artworks as well as the specific hardware and software configuration of an artist- provided computer. Video recordings of computer-based artworks as installed as well as screen recordings of code or project files can provide invaluable documentation of these works. Conservators capture evidence of the work’s behaviors while it is still functioning in its original environment. is documentation is useful for determining characteristics like speed, overall duration, and how museum or online visitors interact with an artwork. Creating screen recordings of an artwork in its original production environment (such as an Adobe Flash project) can also give conservators and curators insight into the artwork’s production process. Screen recordings can also help users understand how to navigate an artwork. For Shu Lea Cheang’s web artwork Brandon (1998–99), the CCBA research team together with the Guggenheim’s Interactive Department created a video to demonstrate to visitors how to explore the various interfaces of the artwork. Resources: Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s 6th 6th 6th 6th 6th 6th 6th 6th 6th 6th 6th Light Light Light Light Light Light Light Light Light Light Light (Video) Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon Brandon (Video) Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object Unfolding Object (Video) Conservation Treatment of Computer-Based Art Conservation treatments of computer-based artworks can include code migration (translating an artwork’s code from one programming language to another, while maintaining the work’s aesthetics and functionality), the use of emulation and virtualization (using specialized software to re-create a vintage computing environment that runs the artist-created software), and even physical repair of hardware such as resoldering. While computer programmers or others may execute the technical work related to a treatment, the conservator remains responsible for supervising the treatment and maintaining the artwork’s integrity during any intervention. e Guggenheim’s restorations of Shu Lea Cheang’s Brandon (1998–99), John F. Simon Jr.’s Unfolding Object (2002), and Mark Napier’s net.flag net.flag net.flag net.flag net.flag net.flag net.flag net.flag net.flag net.flag net.flag (2002) are examples of using code migration as a treatment method. e restoration team sought to align these restorations with traditional conservation ethics, including reversibility, clearly delineating the original from new additions, and documenting any interventions. More information about the restoration process is available in coauthored blog posts on the Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Guggenheim’s Checklist Checklist Checklist Checklist Checklist Checklist Checklist Checklist Checklist Checklist Checklist blog blog blog blog blog blog blog blog blog blog blog. Collaboration with Computer Science e Guggenheim has taken an interdisciplinary approach to conserving computer- based artworks. Since 2014 the museum’s Conservation Department has partnered with New York University’s Department of Computer Science to analyze and document computer-based artworks in the collection. Deena Engel, Clinical Professor of Computer Science at NYU, leads her students in case-study investigations of Guggenheim artworks. e CCBA research team identifies case studies that are assigned to groups of computer science students. At the beginning of a case study, the students create documentation to map the components of a given artwork, including the original hardware, operating system, and other software necessary to run the work. e students also determine the programming languages used (as many artworks feature more than one) and the role each language plays in the artwork. If an artwork uses external data sources, which could include retrieving data from the internet or tracking the movement of museum visitors, the students trace how the artwork collects, stores, and manipulates this data. Students also account for all of the media assets used in an artwork and their purpose. If the artwork has sound, students determine whether it generates the audio programmatically or if it plays a series of audio files (such as MP3s). Students investigate how the artwork’s graphics are drawn, whether in real time according to instructions in the program or through image files (such as GIFs). Students often create flowcharts or other descriptive documents to illustrate the logic of the code. ey may also annotate a copy of the source code to make it more understandable to conservation staff. Resources: ANNOTATED SOURCE CODE FOR SEIBREN VERSTEEG’S “ UNTITLED FILM II” (2006) (PDF) ANNOTATED SOURCE CODE FOR MARK NAPIER’S “NET.FLAG” (2002) (PDF) e CCBA initiative has built an interdisciplinary bridge that is mutually beneficial. As research partner Professor Deena Engel states: “ere are many “ere are many “ere are many “ere are many “ere are many “ere are many “ere are many “ere are many “ere are many “ere are many “ere are many benefits to be gained benefits to be gained benefits to be gained benefits to be gained benefits to be gained benefits to be gained benefits to be gained benefits to be gained benefits to be gained benefits to be gained benefits to be gained from academic- from academic- from academic- from academic- from academic- from academic- from academic- from academic- from academic- from academic- from academic- museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty museum collaboration in research: e museum benefits as students and faculty can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by can devote time to study works in the collection to complement research done by museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an museum staff, and the university benefits as students and faculty have an opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” opportunity to do original research on important works of art.” In addition to source code analysis, students have also developed prototypes of treatments for artworks. Several students were later hired as interns or consultants to document computer-based artworks, and graduates have worked as programmers on restoration projects. DISSEMINATION OF RESEARCH Bibliography of Papers and Presentations e CCBA initiative seeks to disseminate its research findings to BACK TO CONSERVATION The Conserving Computer-Based Art Initiative < 1 5 Paul Chan’s work 6th Light (2007) uses a computer to play a Flash animation that is projected onto a wall. © Paul Chan. Photo: Jean Vong, courtesy Paul Chan and Greene Naftali Gallery, New York 1 4 Samuel H. Kress Fellow Alexandra Nichols and NYU computer science student Jillian Zhong document the installation of Sun Yuan and Peng Yu’s Can’t Help Myself (2016) and the programmed behaviors of the work’s robotic arm. © Sun Yuan & Peng Yu. Photo: Joanna Phillips 1 4 Image of Jason Rhoades’s Sepia Movie (2000). e wooden frame and matte contains a laptop that plays a series of changing images. © Estate of Jason Rhoades 1 3 Brian Castriota opens the case of an artist-provided computer to extract the hard drive. Photo: Joanna Phillips 1 3 Discussing treatment options for Brandon (1998–99) with artist Shu Lea Cheang over Skype. Photo: Kristopher McKay < > < > < > < > < > ABOUT METHODOLOGY DISSEMINATION OF RESEARCH HISTORY MUSEUM AND STORE ARE CLOSED TODAY > ONLINE RESOURCES VISIT ART JOIN & GIVE RESEARCH ABOUT SHOP SEARCH

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Page 1: BACK TO CONSERVATION The Conserving Computer-Based Art

ABOUT THE CONSERVING COMPUTER-BASED ART INITIATIVE(CCBA)

BackgroundThe Conserving Computer-Based Art initiative (CCBA) is an ongoing, practice-based research project that focuses on the preservation needs of computer-basedartworks in the Guggenheim’s collection. The CCBA initiative began in anattempt to address issues like hardware failure, rapid obsolescence, and the lack ofestablished best practices, all of which put computer-based artworks in thecollection at high risk. The ultimate goal of the initiative is to save these artworksfor future generations to experience.

The CCBA initiative continually explores innovative research questions related tothe care of computer-based artworks in order to catalyze the development of bestpractices for both collected works and future acquisitions.

The structure of the initiative involves the museum’s CCBA Fellowship, theongoing academic-museum collaboration between New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’s

New York University’sNew York University’sDepartment of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer Science

Department of Computer ScienceDepartment of Computer Science and the Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s Conservation

Guggenheim’s ConservationGuggenheim’s ConservationDepartment

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

Department

DepartmentDepartment, and the work of the museum’s conservation staff, fellows, andinterns.

The initiative disseminates its findings to the conservation field at large throughpresentations and publications in an effort to improve practices for handlingcomputer-based art at the Guggenheim and beyond.

What Is Computer-Based Art?Computer-based art, also known as software-based art or digital art, describesartworks in which computer hardware and software is employed as a creativemedium and is integral to the exhibition of the artwork. Computer-based art caninclude websites created as art, artist-written software or scripts, and artist-createdmicrocontroller units. The museum’s holdings include computer-based works byPaul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul ChanPaul Chan, Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea Cheang

Shu Lea CheangShu Lea Cheang, Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez Jonas

Paul Ramírez JonasPaul Ramírez Jonas, John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,

John F. Simon Jr.,John F. Simon Jr., Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

Phoebe

PhoebePhoebeWashburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

Washburn

WashburnWashburn, Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng Yu

Sun Yuan and Peng YuSun Yuan and Peng Yu, and many other artists. These artworks utilize avariety of technologies including HTML, JavaScript, Adobe Flash animations,virtual reality headsets, custom-built microcontroller units, and computer-controlled industrial robots.

Computer-based artworks in the collection relate to such trends and movements asnetworked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked art

networked artnetworked art, Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-Conceptualism

Neo-ConceptualismNeo-Conceptualism, and site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific art

site-specific artsite-specific art.

How Do Museums Conserve Computer-Based Artworks?The long-term preservation of computer-based artworks remains challenging.These works inevitably face both hardware and software obsolescence. In addition,computer hardware that may be required to run the artwork suffers physicaldeterioration over time. Unlike paintings and sculptures, these works cannotsimply be placed on a shelf; they can quietly break or die without anyone noticinguntil it’s too late. Conservation staff must manage the challenge of what DeenaEngel describes as “ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherent

ongoing digital innovation and the resulting inherentongoing digital innovation and the resulting inherentinstability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,

instability of digital artworks,instability of digital artworks,” while maintaining their artistic integrity anddocumenting their various iterations over time.

Conservation staff can implement several strategies to preserve these artworks forthe long term. As with other artworks, the conservation of computer-based worksrequires rigorous examination and documentation of the “original substance,” anartwork’s technical composition including its constituent parts and artist-intendedbehaviors and functionality.

While creating documentation, conservators analyze the work to identify itsvulnerabilities, for example, its dependence on a specific operating system, aspecific piece of software, or customized hardware. Conservators must understandthe technical dependencies of the artwork and must also identify and secure theproper resources for the long-term preservation (such as specific hardware andperipherals, source code, executable programs, or media assets like video or audiofiles). These physical and digital components often vary depending on thetechnology employed in the artwork.

During an artwork’s acquisition, conservatorscopy the data necessary for reexhibiting theartwork from physical storage media (such ascomputer hard drives, optical discs, and floppydisks) before the data becomes inaccessible.Conservators then move this data topreservation storage, where multiple copies arekept and monitored for data integrity.

As with other time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworkstime-based media artworks,instability and change are inherent tocomputer-based works. Each installation maybe considered a different representation of theartwork and conservators must proactively

manage the degree of change that may be introduced into each iteration.

Over time, computer-based artworks may require conservation treatment torestore their public accessibility or ready them for exhibition or loan. Conservatorsfirst assess what effect a possible conservation treatment, such as migration oremulation, would have on the intended behaviors of an artwork and determine,typically in collaboration with the artist, which visible and invisible changes to theartwork would be acceptable, without compromising the artwork’s integrity.Conservators carry out or supervise a treatment, which may involve methods suchas code migration, emulation or virtualization, or creating replica computers.

CCBA Research TeamLena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena Stringari

Lena StringariLena Stringari, Deputy Director and Chief ConservatorJonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan Farbowitz

Jonathan FarbowitzJonathan Farbowitz, Fellow in the Conservation of Computer-Based ArtDeena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena EngelDeena Engel, Clinical Professor in the Department of Computer Science at theCourant Institute of Mathematical Sciences, New York University

CCBA FellowshipIn 2016 the Guggenheim raised funds to create a postgraduate fellowshipdedicated to addressing the needs of the computer-based artworks in thecollection. Jonathan Farbowitz was appointed as the Guggenheim’s CCBA Fellowin December 2016 and began surveying and backing up computer-based works inthe collection—creating disk images of artist-provided hardware and software andidentifying high-risk pieces requiring immediate treatment.

Farbowitz supported the restorations of web artworks Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

BrandonBrandon (1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99)

(1998–99) (1998–99) andUnfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object Unfolding Object (2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)

(2002)(2002). He has also developed workflows for archivingcomputer-based artworks. The Guggenheim continues to collect these works, andFarbowitz has actively participated in new acquisitions.

METHODOLOGY

Collection Survey and BackupSeveral computer-based artworks in the collection are approaching their seconddecade of life, but the computer hardware required to run them was neverdesigned to last that long. As a first step, the data stored on artist-providedcomputers or disks must be moved from aging physical media into safer storage.Begun in December 2016, surveying and backing up the collection has been acentral goal of the CCBA Fellowship.

As part of the collection survey and backup, disk images were created fromphysical storage media, such as hard drives, floppy disks, and optical discs. A diskimage is a digital file that is an exact copy, bit-for-bit, of a piece of a physicalstorage media saved as a single digital file. When imaging a hard drive,conservators connect the drive to a write blocker, which ensures that the drive’sdata won’t be altered during imaging. The resulting disk image file is then storedfor preservation. The conservator that created the disk image completes a DiskImaging Report to record details of the process. The report also contains qualitycontrol tests for the disk image.

However, in certain cases, simply preserving data from physical storage mediaalone will not provide sufficient resources for future reexhibition or migration ofthe artwork, and conservators must employ multiple strategies for long-termpreservation.

Resources:

GUGGENHEIM DISK IMAGING WORKFLOW (PDF)

DISK IMAGING REPORT: HARD DRIVE, FLASHDRIVE, OR MEMORY CARD (PDF)

DISK IMAGING REPORT: FLOPPY DISK (PDF)

DISK IMAGING REPORT: OPTICAL DISC (PDF)

Nearly as important as capturing the artist-created software itself is generating andstoring proper cataloguing information and metadata (information about thedata). Future conservators must understand what each of the digital files related tothe artwork represents. Proper metadata also contextualizes the digital materialsbeing preserved for future conservators, curators, and researchers.

At the Guggenheim, artworks are catalogued and broken down into componentsfor entry into the museum’s collection management system. However, computer-based artworks present challenges for collection management systems that wereprimarily designed to catalogue unique physical objects. Conservation staff mustcreate new standardized vocabularies around the digital elements needed toreexhibit an artwork. The relationships between the work’s different digitalcomponents (as well as their relationships to physical components) must also becaptured in detail. The CCBA initiative seeks to advance practices in all of theseareas.

Resources:

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)

Sample Spreadsheet of Components for CCBA Artworks (Excel document)Sample Spreadsheet of Components for CCBA Artworks (Excel document)

ACQUISITION CHECKLIST: COMPUTER-BASEDARTWORK WITH ARTIST-PROVIDED COMPUTER(PDF)

ACQUISITION CHECKLIST: WEB ARTWORK (PDF)

ACQUISITION CHECKLIST: COMPUTER-BASEDARTWORK WITH MICROCONTROLLER (PDF)

Source Code AnalysisPart of the ongoing collaboration between the Guggenheim and New YorkUniversity’s Department of Computer Science involves conducting source codeanalysis of artworks.

Source code is the computer code originally written by the artist or theirtechnician and represents the logic and instructions for how an artwork willfunction. Source code is often compiled to create an executable file or set of filesthat run the artwork. Through reading the source code, one can understand all theintended behaviors of a computer-based artwork, many of which would beimperceptible when viewing the work. For example, if the artwork incorporatesrandom selections of images or sounds, the source code will specify this behavior.In order to read the source code, one must understand the programming languageused. Currently, most conservators do not have training to do so, andcollaboration with colleagues in computer science has become necessary.

Source code analysis can be likened to the technical analysis conducted by otherconservation specialties, for example, investigating the layers of paint on a canvas.Understanding the source code of a computer-based artwork allows conservatorsto fully document the anatomy of the artwork, its behaviors, and its significantproperties. Understanding how an artwork functions (through knowledge of itscode) also influences future conservation decisions.

DocumentationLike other time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworks

time-based media artworkstime-based media artworks, computer-based works are documentedthrough Identity Reports and Iteration Reports.

Resources:

IDENTITY REPORT FOR “CAN’T HELP MYSELF”(2016) BY SUN YUAN AND PENG YU (PDF)

However, theseartworks requireadditional forms ofdocumentation. TheCCBA initiative hasinvestigated methodsto document thehardware and softwaredependencies ofcomputer-based

artworks as well as the specific hardware and software configuration of an artist-provided computer.

Video recordings of computer-based artworks as installed as well as screenrecordings of code or project files can provide invaluable documentation of theseworks. Conservators capture evidence of the work’s behaviors while it is stillfunctioning in its original environment. This documentation is useful fordetermining characteristics like speed, overall duration, and how museum oronline visitors interact with an artwork.

Creating screenrecordings of anartwork in its originalproductionenvironment (such asan Adobe Flashproject) can also giveconservators andcurators insight intothe artwork’sproduction process.

Screen recordings can also help users understand how to navigate an artwork. ForShu Lea Cheang’s web artwork Brandon (1998–99), the CCBA research teamtogether with the Guggenheim’s Interactive Department created a video todemonstrate to visitors how to explore the various interfaces of the artwork.

Resources:

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s

Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s Excerpt of a screen recording of the Adobe Flash project file for Paul Chan’s 6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th

6th6thLight

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

Light

LightLight (Video)

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s

Screen navigation of Shu Lea Cheang’s Screen navigation of Shu Lea Cheang’s Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

BrandonBrandon (Video)

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork

Screen recording by John F. Simon Jr. of his artwork Screen recording by John F. Simon Jr. of his artwork Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding ObjectUnfolding Object (Video)

Conservation Treatment of Computer-Based ArtConservation treatments of computer-based artworks can include code migration(translating an artwork’s code from one programming language to another, whilemaintaining the work’s aesthetics and functionality), the use of emulation andvirtualization (using specialized software to re-create a vintage computingenvironment that runs the artist-created software), and even physical repair ofhardware such as resoldering. While computer programmers or others may executethe technical work related to a treatment, the conservator remains responsible forsupervising the treatment and maintaining the artwork’s integrity during anyintervention.

The Guggenheim’s restorations of Shu Lea Cheang’s Brandon (1998–99), John F.Simon Jr.’s Unfolding Object (2002), and Mark Napier’s net.flag

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net.flagnet.flag (2002) areexamples of using code migration as a treatment method. The restoration teamsought to align these restorations with traditional conservation ethics, includingreversibility, clearly delineating the original from new additions, and documentingany interventions. More information about the restoration process is available incoauthored blog posts on the Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s

Guggenheim’s Guggenheim’s Checklist

Checklist

Checklist

Checklist

Checklist

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Checklist

Checklist

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Checklist

Checklist

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Checklist

Checklist

Checklist

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Checklist Checklist blog

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blog

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Collaboration with Computer ScienceThe Guggenheim has taken an interdisciplinary approach to conserving computer-based artworks. Since 2014 the museum’s Conservation Department has partneredwith New York University’s Department of Computer Science to analyze anddocument computer-based artworks in the collection. Deena Engel, ClinicalProfessor of Computer Science at NYU, leads her students in case-studyinvestigations of Guggenheim artworks.

The CCBA researchteam identifies casestudies that areassigned to groups ofcomputer sciencestudents. At thebeginning of a casestudy, the studentscreate documentationto map the

components of a given artwork, including the original hardware, operating system,and other software necessary to run the work. The students also determine theprogramming languages used (as many artworks feature more than one) and therole each language plays in the artwork. If an artwork uses external data sources,which could include retrieving data from the internet or tracking the movement ofmuseum visitors, the students trace how the artwork collects, stores, andmanipulates this data.

Students also account for all of the media assets used in an artwork and theirpurpose. If the artwork has sound, students determine whether it generates theaudio programmatically or if it plays a series of audio files (such as MP3s).Students investigate how the artwork’s graphics are drawn, whether in real timeaccording to instructions in the program or through image files (such as GIFs).Students often create flowcharts or other descriptive documents to illustrate thelogic of the code. They may also annotate a copy of the source code to make itmore understandable to conservation staff.

Resources:

ANNOTATED SOURCE CODE FOR SEIBRENVERSTEEG’S “ UNTITLED FILM II” (2006) (PDF)

ANNOTATED SOURCE CODE FOR MARK NAPIER’S“NET.FLAG” (2002) (PDF)

The CCBA initiativehas built aninterdisciplinarybridge that is mutuallybeneficial. As researchpartner ProfessorDeena Engel states:“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many

“There are many“There are manybenefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gained

benefits to be gainedbenefits to be gainedfrom academic-

from academic-

from academic-

from academic-

from academic-

from academic-

from academic-

from academic-

from academic-

from academic-

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from academic-from academic-museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and faculty

museum collaboration in research: The museum benefits as students and facultymuseum collaboration in research: The museum benefits as students and facultycan devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done by

can devote time to study works in the collection to complement research done bycan devote time to study works in the collection to complement research done bymuseum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have an

museum staff, and the university benefits as students and faculty have anmuseum staff, and the university benefits as students and faculty have anopportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”

opportunity to do original research on important works of art.”opportunity to do original research on important works of art.”

In addition to source code analysis, students have also developed prototypes oftreatments for artworks. Several students were later hired as interns or consultantsto document computer-based artworks, and graduates have worked asprogrammers on restoration projects.

DISSEMINATION OF RESEARCH

Bibliography of Papers and PresentationsThe CCBA initiativeseeks to disseminateits research findings to

BACK TO CONSERVATION

The Conserving Computer-Based Art Initiative<

15

Paul Chan’s work 6th Light (2007) uses a computer to play a Flash animation that is projected onto a wall. © Paul Chan.Photo: Jean Vong, courtesy Paul Chan and Greene Naftali Gallery, New York

14

Samuel H. Kress Fellow Alexandra Nichols and NYU computer science student Jillian Zhong document the installation ofSun Yuan and Peng Yu’s Can’t Help Myself (2016) and the programmed behaviors of the work’s robotic arm. © Sun Yuan &Peng Yu. Photo: Joanna Phillips

14

Image of Jason Rhoades’s Sepia Movie (2000). The wooden frame and matte contains a laptop that plays a series of changingimages. © Estate of Jason Rhoades

13

Brian Castriota opens the case of an artist-provided computer to extract the hard drive. Photo: Joanna Phillips

13

Discussing treatment options for Brandon (1998–99) with artist Shu Lea Cheang over Skype. Photo: Kristopher McKay

< >

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ABOUT METHODOLOGY DISSEMINATION OF RESEARCH HISTORY

MUSEUM ANDSTORE ARE CLOSEDTODAY

>

ONLINERESOURCESVISITART

JOIN & GIVERESEARCHABOUTSHOP

SEARCH

https://www.guggenheim.org/wp-content/uploads/2019/12/guggenheim-disk-imaging-workflow-2020.pdf
https://www.guggenheim.org/wp-content/uploads/2019/12/guggenheim-disk-imaging-report-hard-drive-flash-drive-memory-card-2020.pdf
https://www.guggenheim.org/wp-content/uploads/2019/12/guggenheim-disk-imaging-report-floppy-disk-2020.pdf
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https://www.guggenheim.org/artwork/artist/paul-chan
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https://www.guggenheim.org/staff/lena-stringari
https://www.guggenheim.org/blogs/author/jonathan-farbowitz
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https://www.guggenheim.org/blogs/checklist/restoring-brandon-shu-lea-cheangs-early-web-artwork
https://www.guggenheim.org/blogs/checklist/the-guggenheim-restores-john-f-simon-jr-early-web-artwork-unfolding-object
https://www.guggenheim.org/wp-content/uploads/2020/01/guggenheim-sample-components-ccba-artwork-2020.xls.zip
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FROM THE COLLECTION

Walter De MariaBall Drop1961

SEE ANOTHER

NEW YORK VENICE BILBAO ABU DHABI

Solomon R.Guggenheim Museum

Peggy GuggenheimCollection

Guggenheim MuseumBilbao

Guggenheim Abu Dhabi

TERMS AND CONDITIONS PRIVACY POLICY USE OF COOKIES © 2020 THE SOLOMON R. GUGGENHEIM FOUNDATION

its research findings tothe professionalcommunity ofmuseum staff, arthistorians, andcollectors, and to thegeneral public in orderto advance the

stewardship of computer-based artworks.

Participants in the CCBA initiative have contributed to the followingpublications:SEE ALL PUBLICATIONS

Participants in theCCBA initiative haveregularly presented atconferences andsymposia.

Recordings andpresentation slides ofselected talks can beaccessed online:

SEE ALL PRESENTATIONS

TechFocus III: Caring for Software-Based Art

TechFocus III, a two-day symposium heldat the Solomon R.Guggenheim Museumin September 2015,focused on thepreservation ofsoftware-basedartworks in museumcollections. The

symposium featured presentations and panels with art conservators, curators,computer science students and faculty, and artists as well as hands-on workshops.

Participants in the CCBA initiative copresented a case study on a Guggenheimcollection work, Seibren Versteeg’s Untitled Film II (2006).

The full program and video recordings of all presentations and panels are availableon the TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III

TechFocus III TechFocus III website.

website.

website.

website.

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website.

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website.

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website.

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website.website.

The symposium was made possible through the generous support of theFoundation of the American Institute for the Conservation of Historic andArtistic Works (FAIC), the National Endowment of the Arts, and the Solomon R.Guggenheim Museum.

HISTORY OF THE CONSERVING COMPUTER-BASED ARTINITIATIVEThe CCBA initiative began in 2013 when Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna Phillips

Joanna PhillipsJoanna Phillips, former SeniorConservator of Time-Based Media at the Guggenheim, began collaborating withDeena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena Engel

Deena EngelDeena Engel, Clinical Professor of Computer Science at New York University.Under their mentorship, Engel’s students began case-study research on artworks inthe Guggenheim’s collection—analyzing artists’ source code, testing treatmentstrategies, and participating in artist interviews.

In 2014–16 former Guggenheim interns and fellows made significantcontributions to CCBA, including Brian Castriota and Alexandra Nichols (SamuelH. Kress Fellows), Amy Brost (Andrew W. Mellon Graduate Intern), Lia Kramer(Polonsky NYU Digital Humanities Intern), and Jiwon Shin (Intern).

Phillips recognized the need to devote more time and resources to examiningcomputer-based artworks through a CCBA-specific fellowship. JonathanFarbowitz became the Guggenheim’s CCBA Fellow in 2016 and began a surveyand backup of collection works. Under the supervision of Engel and Phillips andsupported by Farbowitz, two web artworks, Shu Lea Cheang’s Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

Brandon

BrandonBrandon (1998–99)and John F. Simon Jr.’s Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding Object

Unfolding ObjectUnfolding Object (2002), were restored in 2017 and 2018,respectively. Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma Dickson

Emma DicksonEmma Dickson served as the lead programmer on the restoration ofBrandon and Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby Rosenberg

Karl Toby RosenbergKarl Toby Rosenberg on Unfolding Object.

CCBA research has been presented at international conferences and symposiaincluding the American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meeting

American Institute of Conservation annual meetingAmerican Institute of Conservation annual meeting, thePreservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest Group

Preservation and Archiving Special Interest GroupPreservation and Archiving Special Interest Group conference, and the TechFocusIII symposium.

The CCBA research team continues to explore new artworks as well as newmethods of treatment and documentation and continues to disseminate itsfindings through publications and presentations.

The CCBA Initiative has been generously supported by the Carl & MarilynnThoma Art Foundation; Josh Elkes; Suzanne Deal Booth; the New York StateCouncil on the Arts, with the support of Governor Andrew Cuomo and the NewYork State Legislature; and Christie’s.

Blogs MORE >

The Guggenheim Restores John F.Simon Jr.’s Early Web Artwork“Unfolding Object”By Joanna Phillips, Deena Engel, JonathanFarbowitz, Karl Toby Rosenberg

An interactive web artwork created inthe early days of the internet gets amuch-needed restoration.MORE >

Restoring Brandon, Shu Lea Cheang’sEarly Web ArtworkBy Joanna Phillips, Deena Engel, EmmaDickson, Jonathan Farbowitz

The collaborative team that recentlyrestored Shu Lea Cheang’s earlyInternet artwork Brandon—one of thefirst such works to enter theGuggenheim’s permanent collection—shares details about the intricateconservation process.MORE >

How the Guggenheim and NYU AreConserving Computer-Based Art—Part 2By Caitlin Dover

Guggenheim conservator JoannaPhillips and New York University’sDeena Engel continue their discussionof the preservation of computer-basedart.MORE >

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