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Interview with Sarah Tucker
Dia Art Foundation, New York, (April 6, 2009).
Founded in 1974, the New-York based Dia Art Foundation is internationally renowned for initiating, supporting, presenting, and preserving art projects. Dia is an important forum for cross-disciplinary art and for art criticism in the international art world.
Sara Tucker, together with curator Lynne Cooke, has been responsible for Dia's web projects since the series began in 1995. She began working at Dia at the end of 1990 after studying German and film. At the time there was only one computer in the institution. Today she is not only responsible for the production of the web projects, but is also Dia’s Information Technology Manager. PACKED collaborator Rony Vissers spoke with her.
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Interview with Tabea Lurk and Juergen Enge (part 1/2)
Interview with Tabea Lurk and Juergen Enge, Brussels, (April 5, 2011).
Tabea Lurk and Juergen Enge are both teachers in the Hochschule der Künste Bern in Switzerland and in the Staatliche Hochschule für Gestaltung Karlsruhe in Germany. They work together on the preservation of digital art since 2006 in the framework of projects such as AktiveArchive. Together, they have developed strategies and concepts to document and preserve computer-based artworks facing the obsolescence of their hardware and software components, through amongst others tools, their Netart Router and the use of virtual machines. Emanuel Lorrain (PACKED vzw) met them to talk about the routines they use and how they envision the future of computer-based art preservation.
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Interview with Tabea Lurk and Juergen Enge (part 2/2)
Interview with Tabea Lurk and Juergen Enge, Brussels, (April 5, 2011).
Tabea Lurk and Juergen Enge are both teachers in the Hochschule der Künste Bern in Switzerland and in the Staatliche Hochschule für Gestaltung Karlsruhe in Germany. They work together on the preservation of digital art since 2006 in the framework of projects such as AktiveArchive. Together, they have developed strategies and concepts to document and preserve computer-based artworks facing the obsolescence of their hardware and software components, through amongst others tools, their Netart Router and the use of virtual machines. Emanuel Lorrain (PACKED vzw) met them to talk about the routines they use and how they envision the future of computer-based art preservation.
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Interview with the Institut National de l'Audiovisuel (INA) (part 1/2)
Institut National de l'Audiovisuel (INA), Bry-sur-Marne, (December 22, 2009).
Since its creation in 1975, the INA or National Audiovisual Institute1, located a few kilometres East of Paris in Bry-sur-Marne, has been entrusted with the complete archives of French radio and television broadcasting. Its mission is to safeguard, to restore, to preserve and to provide access to thousands of hours of radio and television programmes. The audiovisual archives themselves are many kilometres long, on film or different video formats of various ages and sometimes in poor condition. The SNC2 workforce of about 25 is organised into two sectors: Safeguarding, responsible for saving the archives by changing them into newer and more stable formats, and Digitization and Communication, responsible for digitising these records and passing them on to customers.
We met Gerard Mathiot who worked as a production technician, then in equipment maintenance for the ORTF and the INA, before becoming the technical manager of safeguarding. With him, we went through the different steps of safeguarding audiovisual material, from the arrival of a tape at the SNC, right up to the moment its contents are made available online at ina.fr. The aim of this interview was to determine how the INA manages the problem of obsolescent playback equipment during the tape safeguarding process. Gérard Mathiot, Alexandre Khuy; a technician for the SNC and Michel Gouley; a technician for the INA’s central video maintenance service, answered our questions about maintenance, spare parts management and the technical know-how associated with the use and repair of their equipment.
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Interview with the Institut National de l'Audiovisuel (INA) (part 2/2)
Institut National de l'Audiovisuel (INA), Bry-sur-Marne, (December 22, 2009).
Since its creation in 1975, the INA or National Audiovisual Institute1, located a few kilometres East of Paris in Bry-sur-Marne, has been entrusted with the complete archives of French radio and television broadcasting. Its mission is to safeguard, to restore, to preserve and to provide access to thousands of hours of radio and television programmes. The audiovisual archives themselves are many kilometres long, on film or different video formats of various ages and sometimes in poor condition. The SNC2 workforce of about 25 is organised into two sectors: Safeguarding, responsible for saving the archives by changing them into newer and more stable formats, and Digitization and Communication, responsible for digitising these records and passing them on to customers.
We met Gerard Mathiot who worked as a production technician, then in equipment maintenance for the ORTF and the INA, before becoming the technical manager of safeguarding. With him, we went through the different steps of safeguarding audiovisual material, from the arrival of a tape at the SNC, right up to the moment its contents are made available online at ina.fr. The aim of this interview was to determine how the INA manages the problem of obsolescent playback equipment during the tape safeguarding process. Gérard Mathiot, Alexandre Khuy; a technician for the SNC and Michel Gouley; a technician for the INA’s central video maintenance service, answered our questions about maintenance, spare parts management and the technical know-how associated with the use and repair of their equipment.
