There are two ways to implement a sound experience in the public space: the first, the classical linear script through which the author intends to control the soundwalk; the second, an open protocol, creating the conditions of the experience without anticipating the details of its development. Some recordings were subjective (with a Go-Pro camera). Could we even say that the extant documentation of This paper focusses on the concept of the ‘second original’. Reducing any of the artworks under discussion to such a perceptive effect is a mistake.

Mouchette), whose Dekker recounted how the Stedelijk Museum in Amsterdam and the Museum of the Image (MOTI) Breda, Netherlands jointly acquired The re-interpretation strategy, based on an analogy between performance and digital art, gains support from the conservation-restoration of ethnographic artefacts. For whom is the proper preservation of the last data-version important? Emmanuel Guez named new general manager of ÉSAD Orléans, France Emmanuel Guez will introduce the PAMAL, by presenting « A Media Archaeology », an exhibition curated by PAMAL that took place in Aix-en-Provence between May 19 and June 28, 2015. His dual activity as an artist and philosopher engaged in the field of arts and literature in theoretical texts, works produced with the help of the digital networks and in the design of collaborative events that have involved many French and international partners (Cinémathèque Française, Centre Pompidou, Labex Arts-H2H (Paris 8), Beaux-Arts de Paris, ENSP Arles, ENSAD, UQAM, ZkM, École de La Cambre…). It would be unfortunate to neglect these, even if it may imply a highly conjectural and incomplete result. This might support strategies of re-interpretation and emulation but is considered here to be an incomplete and improper strategy for the successful conservation of the context and knowledge-culture in which these works were created.1 The PAMAL (Preservation & Art—Media Archaeology Lab) is a research unit, founded in 2013 and based at the Ecole Supérieure d’Art d’Avignon (France), 2 ‘Une archéologie des média’ (‘An Archeaology of the Media’), Seconde Nature, Festival d’Art Numérique, Aix-en-Provence, France, 19 May–27 June 2015, 5 See the archived discussions from the JISCMail New-Media-Curating mailing list of the ‘Curatorial Resource for Upstart Media Bliss’ (CRUMB) online resource for new media art (7 Karin De Wild, email to JISCMail New-Media-Curating mailing list (CRUMB), 14 November 2016.8 Simon Biggs, New-Media-Curating list, 7 December 2016.9 On the ‘post internet’ see, for example, Marisa Olson, ‘Postinternet: Art after Internet’, in 10 Dieter Daniels, New-Media-Curating list, 28 December 2016.11 Shu-Lea Cheang, New-Media-Curating list, 29 November 2016.12 Cf. 2019. See, for example 31 Barbara Kirshenblatt-Gimblett, ‘Objects of Ethnography’ (paper presented at conference 32 Swaving, New-Media-Curating list, 29 December 2016.33 Johannes Birringer, New-Media-Curating list, 31 December 2016.34 Marilyn Strathern, ‘The Patent and the Malanggan’, 35 Ippolito, New-Media-Curating list, 24 January 2017. This approach is in line with that taken by others, including ZKM | Center for Art and Media Karlsruhe in Germany,From 1985 to 1986, the Brazilian artist Eduardo Kac created a series of telematic poems: the ‘Eduardo Kac’s first works on the electronic network were videotexts.
Former Director of Research at the École Supérieure d’Art d’Avignon and interim director of studies (2013-2014), he defends a pedagogy based on research, combining theoretical and creative practices.His project is to make the ÉSAD Orléans a design and art factory that is attentive to the needs of ecological, digital, political and technological issues. This article explores the conditions of a localized writing that prioritizes determination through the sense of hearing over sight. 3: Murmures Urbains à Chalon-sur-Saône (F) / 20140226.With these protocols, the reflexive and calculating dimension is enhanced, but in a particular way. For an overview of methods used in the conservation of digital art, including emulation and migration, see, for example 17 For example, see the Documentation and Conservation of the Media Arts Heritage (DOCAM) research alliance, 18 Pip Laurenson, ‘Authenticity, Change and Loss in the Conservation of Time-based Media Installations’, 19 See, for example, Adrian Mackenzie, ‘The Performativity of Code: Software and Cultures of Circulation’, 21 Peter Weibel, ‘It is Forbidden Not to Touch: Some Remarks on the (Forgotten Parts of the) History of Interactivity and Virtuality’, in 22 Ippolito, New-Media-Curating list, 20 December 2016.23 Cf. Emmanuel Guez, Morgane Stricot, Lionel Broye and Stéphane Bizet The afterlives of network-based artworks Keywords media archaeology; network-based art conservation; internet art; telematic art; dead media; second original In the spring of 2015, the Avignon-based ‘Preservation & Art—Média The second advantage lies in the ease of digital recording. Web90 – Patrimoine, Mémoires et Histoire du Web dans les années 1990 “Technological progress has merely provided us with more efficient means for going backwards.”