Figure 2 - uploaded by Rene Alberto Garcia Cepeda
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Example of Ippolito's versioned wall label. Screenshot by Jon Ippolito.

Example of Ippolito's versioned wall label. Screenshot by Jon Ippolito.

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While interactive new media art continues to be an interest to artists, its integration within institutional contexts remains inconsistent at best. A literature and artist and curator perspective survey showed that the field has a lack of understanding of both the theoretical nature of interactive new media art and its specific needs at the install...

Contexts in source publication

Context 1
... by Rene G. Cepeda. 71 Figure 20: Diagram by Rene G. Cepeda. Gantt chart used to illustrate the relative time span each step in the design of an interactive new media art exhibition should take. ...
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... recognition of the fluidity of new media, while expressed in other literature, is studied more in depth by Ippolito than by other academics and is of utmost importance for this study's move into the oft ignored field of interactive new media art. His labelling attempts, as seen in Figure 2, to embrace multiple authorship, versioning, and other concerns related to art as software, from the article Death by Wall Label (2008). In this text, Ippolito attempts to create a label that effectively recognises all stakeholders in the creation of an artwork, including designers, coders, writers, and other individuals traditionally not credited in art making. ...
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... concerns addressed in Death by Wall Label include variable names, dimensions, dates, and even collections. These labels, as can be seen in Figure 2, often become very large and complex. In the analysis chapter of this dissertation (4.1.3.7), ...
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... Curators and Online Conservators (2009) where she argues curators should have a vast array of knowledge encompassing technology, the net, art history, and other disciplines, cannot in any way be fluent in every form of new media, both due to the speed new ones emerge and that others become obsolete, and also because they do not engage with them in the same way as other disciplines do. For example, the way a curator would approach something as Help Poppy Build the Computer (2017), seen in Figure 22, is completely different from the way a social media manager would; a curator may ignore the chat stream that accompanied the transmission (In fact, the chat stream that accompanied this work is now missing), while the social media expert would insist that this chat stream was in fact the most important part of the work, as it showcased the interactive facet of the work. During the case study work done in conjunction with this project, it became evident that some friction still exists in terms of cooperation between departments. ...
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... options, however, are capable of displaying full information on the artwork. This second idea came about after observing the innovative approach the V&A had to playtimes in a theatre showing a rotating series of three videos ( Figure 23). With a total running time of eleven minutes and thirty-seconds, it is important for spectators to know the length of time they will be in the space as well as how far along the videos are. ...
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... a total running time of eleven minutes and thirty-seconds, it is important for spectators to know the length of time they will be in the space as well as how far along the videos are. The solution is both simple and elegant, and consists of a secondary synchronised video screen that visually displays both how far along the video is and the total play time (Figure 24). This use of technology became the inspiration for the aforementioned digital labels as well as a recommendation on its own. ...
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... the conversations I had with experts, I was able to learn more about the limitations these technologies have (this is important, as commercial versions of these technologies tend to not take the same risks an artist can), such as how artists do not have to worry about performance in the same way a commercial product does or the levels of experimentation in exploiting computer bugs and other failings in software, and even applications of the technology that may not make sense as commercial products but that can have great artistic implications. Examples of this include Jodi's Untitled Game (1996)(1997)(1998)(1999)(2000)(2001), a series of modifications made to the popular video game Quake (1996) that result in abstract experiences by removing parts of the code or forcing the game's programming to fail in one way or another (Figure 25). For the rest of the sections, research had to be done to fully understand each technology and how it was similar and different to its analogue forms, if those exist, or in the case where it was completely new, attempts were made to link it to other similar existing media so as to find the best way to approach it. ...
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... Panoramic shot of all pieces • Photographs of the hanging, opening day, and takedown All these documents are then collected and stored in cardboard boxes, as seen in Figure 26; the box itself is labelled with the date and name of the exhibition, often using a promotional image above this data to facilitate identification. ...
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... an added bonus, these boxes can also contain a copy of the digital version in some form of physical storage device, such as a DVD or a flash drive. This methodology is directly adapted from the Laboratorio Arte Alameda archives, see Figure 26 and Figure 27. Eventually, this archive will have to be migrated into other forms of storage, and ideally by the time this is necessary, sturdier digital storage methods will be available. ...
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... an added bonus, these boxes can also contain a copy of the digital version in some form of physical storage device, such as a DVD or a flash drive. This methodology is directly adapted from the Laboratorio Arte Alameda archives, see Figure 26 and Figure 27. Eventually, this archive will have to be migrated into other forms of storage, and ideally by the time this is necessary, sturdier digital storage methods will be available. ...