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--- klodner-en [19.02.2023 14:59] – admin
+++ klodner-en [19.02.2023 16:04] (current) – external edit 127.0.0.1
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 ''Fig. 1. Model of the hierarchical structure of description levels in the ISAD standard.''
-As it is not always possible to achieve the full equivalent of a work of art by digitising and archiving only audiovisual material, the material in the package is supplemented with additional information and objects. In terms of making works of art accessible and conveying their historical context, archives also maintain written and photographic documentation material. Material often arrives for archiving in many versions; typically, the version for cinema projection and the loop for installation solutions may differ. The exact digital equivalent of the historically authentic original version may not be suitable for current distribution and differs from the restored version. In the case of performative and interactive art forms, a moving image can refer to certain components of their intermedia dramaturgy. In installations it can be part of a material sculpture, in performances it can be part of an intangible expression. Again, the interview and the acquisition documentation mentioned above must be saved, either in the same or in a separate related package (the same applies to any historical photographs documenting exhibitions, other parts of the performance or installation design, and written documents).
+As it is not always possible to achieve the full equivalent of a work of art by digitising and archiving only audiovisual material, the material in the package is supplemented with additional information and objects. In terms of making works of art accessible and conveying their historical context, archives also maintain written and photographic documentation material. Material often arrives for archiving in many versions; typically, the version for cinema projection and the loop for installation solutions may differ. The exact digital equivalent of the historically authentic original version may not be suitable for current distribution and differs from the restored version. In the case of performative and interactive art forms, a moving image can refer to certain components of their intermedia dramaturgy. In installations it can be part of a material sculpture, in performances it can be part of an intangible expression. Again, the interview and the acquisition documentation mentioned above must be saved, either in the same or in a separate related package (the same applies to any historical photographs documenting exhibitions, other parts of the performance or installation design, and written documents). The basic requirement of archiving is to cover the entire composition of the original work in question, including its components, their interrelationships and direct documentation. We include this among the considerations when assembling and organising the contents of an archival information package. Completeness and comprehensiveness are also among the main criteria for the entire archival fond, i.e. the total quantity and content of the packages. Although some objects are formalised by memory institutions, e.g. through a metadata profile, they are usually standardised products of industrial production, such as a magazine or a gramophone record. Because the subject field of art is variable and includes unique authorial approaches, it is up to curators and conservators to decide how to systematise the contents of the package and the division of packages into fonds and sub-fonds with respect to the media forms they wish to preserve. There are many considerations that curators and conservators take into account in their decisions when processing an acquisition and therefore several dozen elements can be stored for a single work of art. For all of them, an accurate description is needed for their retrievability and to ensure the long-term integrity of the digital files. The entire file or package is then an authentic digital imprint of the original medium in its various aspects.
-The basic requirement of archiving is to cover the entire composition of the original work in question, including its components, their interrelationships and direct documentation. We include this among the considerations when assembling and organising the contents of an archival information package. Completeness and comprehensiveness are also among the main criteria for the entire archival fond, i.e. the total quantity and content of the packages. Although some objects are formalised by memory institutions, e.g. through a metadata profile, they are usually standardised products of industrial production, such as a magazine or a gramophone record. Because the subject field of art is variable and includes unique authorial approaches, it is up to curators and conservators to decide how to systematise the contents of the package and the division of packages into fonds and sub-fonds with respect to the media forms they wish to preserve. There are many considerations that curators and conservators take into account in their decisions when processing an acquisition and therefore several dozen elements can be stored for a single work of art. For all of them, an accurate description is needed for their retrievability and to ensure the long-term integrity of the digital files. The entire file or package is then an authentic digital imprint of the original medium in its various aspects.
+In principle, we create the package in such a way that as a whole it corresponds to the archival description at the Subseries level and contains all digital objects that hierarchically belong to this and lower levels of the described entity.
-{{klodner-4.png?523&nolink}}
+{{klodner-4.png?400&nolink}}
 ''Fig. 2. Sample package for reception and three-level description.''
-In principle, we create the package in such a way that as a whole it corresponds to the archival description at the Subseries level and contains all digital objects that hierarchically belong to this and lower levels of the described entity.
 ==== Digital repository ====

NEW MEDIA MUSEUMS Proceedings, 2022

New Media Museums

Differences