NEW MEDIA MUSEUMS Proceedings, 2022

New Media Museums

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bauerova-en [19.02.2023 13:35] – adminbauerova-en [19.02.2023 16:04] (current) – external edit 127.0.0.1
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 Available information and footage indicate that the New Media Museums project is in this very stage, i.e. it is looking for recognition of the needs of moving-image objects by state cultural (and academic) institutions or their founders. I consider the setup of the project, its focus and structuring to be absolutely correct and I value its results. I understand the calls from experts in various fields for the provision of material, technological and personnel infrastructure by competent (mostly national) institutions. Considering the information above, the following are some conclusions that could in my opinion complicate the collection, preservation and conservation-restoration of the moving image. Available information and footage indicate that the New Media Museums project is in this very stage, i.e. it is looking for recognition of the needs of moving-image objects by state cultural (and academic) institutions or their founders. I consider the setup of the project, its focus and structuring to be absolutely correct and I value its results. I understand the calls from experts in various fields for the provision of material, technological and personnel infrastructure by competent (mostly national) institutions. Considering the information above, the following are some conclusions that could in my opinion complicate the collection, preservation and conservation-restoration of the moving image.
  
-We designate the moving image as cultural heritage and apply the canonised categories to it in order to fulfil the earlier experiences of society, which are already codified concrete categories or ‘values’ (returning to Riegl at the beginning of the essay). As such, on the basis of convincing arguments we are quite legitimately and rightly attempting to introduce new cultural and historical objects into our collective consciousness.[(Otero-Pailos 2022, note 17, p. 21.)] The reasoning is in line with the priorities of the national authorities. As citizens, we want to use the procedures in place to make the state take responsibility for the care of this new kind of cultural heritage (under the existing interpretation).+We designate the moving image as cultural heritage and apply the canonised categories to it in order to fulfil the earlier experiences of society, which are already codified concrete categories or ‘values’ (returning to Riegl at the beginning of the essay). As such, on the basis of convincing arguments, we legitimately and rightly attempt to introduce new cultural and historical objects into our collective consciousness.[(Otero-Pailos 2022, note 17, p. 21.)] The reasoning is in line with the priorities of the national authorities. As citizens, we want to use the existing procedures to make the state take responsibility for the care of this new kind of cultural heritage (as it is currently interpreted).
  
 We therefore act as we have been taught and as the state administration tries to convince us: we see institutional support as a guarantee for the preservation and protection of cultural objects and therefore expect state investment: "In reality, without government funding, the existence of intergenerational preservation of ... heritage would hardly be conceivable."[(Otero-Pailos 2022, p. 26.)] We see the collection and preservation of moving-image objects or collections as a hedge against their destruction, against them falling into obscurity or not being preserved for future generations. We therefore act as we have been taught and as the state administration tries to convince us: we see institutional support as a guarantee for the preservation and protection of cultural objects and therefore expect state investment: "In reality, without government funding, the existence of intergenerational preservation of ... heritage would hardly be conceivable."[(Otero-Pailos 2022, p. 26.)] We see the collection and preservation of moving-image objects or collections as a hedge against their destruction, against them falling into obscurity or not being preserved for future generations.
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 This established form of conservation-restoration has been enriched in recent decades by an interdisciplinary approach that allows for the involvement of other professions, or at least their work procedures. However, it still contingent on the historicity of the material nature of cultural objects. If elements such as the denial of material originality, material impermanence or even the absence of (at least classical) materials enter the processes of conservation, protection and interpretation of cultural objects thanks to the moving image, we have to admit that a change in some procedures is inevitable and the possibilities of the profession may be quite limited. This established form of conservation-restoration has been enriched in recent decades by an interdisciplinary approach that allows for the involvement of other professions, or at least their work procedures. However, it still contingent on the historicity of the material nature of cultural objects. If elements such as the denial of material originality, material impermanence or even the absence of (at least classical) materials enter the processes of conservation, protection and interpretation of cultural objects thanks to the moving image, we have to admit that a change in some procedures is inevitable and the possibilities of the profession may be quite limited.
  
-Therefore, rather than introducing the new fields of conservation-restoration of new media in an academic environment, the future of professional care could be shaped by postgraduate or complementary (in the sense of specialised) studies to the master's degree in conservation-restoration (at art or engineering universities). This idea follows the practices of British conservator-restorers, who see the development of the discipline as more of an amalgamation of related conservator-restorer specialisations while maintaining a uniform basic professional education.[(Jonathan Ashley-Smith's article (note 7) recalls his colleague Jane Henderson's call in 2000: "we must realise that what unites us as conservators is far more significant than what divides us.")]+The future of professional care may therefore be shaped not by the introduction of new fields of conservation-restoration of new media in an academic environment, but by postgraduate or complementary (in the sense of specialised) studies to the Master's degree in conservation-restoration (at art or engineering colleges). This idea follows the practice of British conservator-restorers, who see the development of the discipline more as an amalgamation of related conservator-restorer specialisms, while maintaining a unified basic professional education.[(Jonathan Ashley-Smith's article (note 7) recalls his colleague Jane Henderson's call in 2000: "we must realise that what unites us as conservators is far more significant than what divides us.")]
  
 A major challenge for learning opportunities defined in this way is stimulating their ability to respond promptly to frequent changes (given the evolution of technology), as only then can we open the question of their integration into a specific cultural or academic institution, or of maintaining their institutional independence. A major challenge for learning opportunities defined in this way is stimulating their ability to respond promptly to frequent changes (given the evolution of technology), as only then can we open the question of their integration into a specific cultural or academic institution, or of maintaining their institutional independence.