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Editorial
Journal of the Institute of Conservation Pub Date : 2019-05-04 , DOI: 10.1080/19455224.2019.1619968
Jonathan Kemp 1
Affiliation  

With this issue an updated style template is inaugurated to both provide a more contemporary look, while bringing the Journal in line with most other academic publications by highlighting the English Abstract at the top of the articles for easier reference. Likewise, a cleaner font and the use of a colour for all headings has been implemented to aid legibility. These changes work to effect both print readability and, importantly, a better online experience as more and more of those associated with cultural heritage across the globe rely on access to web-based content. To the issue in detail: where recent linked data initiatives have been aimed at enabling knowledge production through the systematic linking of diverse holdings, other theoretical work has centred on characterising the archive as a means to ensure both the understanding and the persistence of identity for some forms of art, and with the first three articles in this issue aspects of all these themes are amplified. Joseph Beuys was known for producing carefully orchestrated performance and installation work, with some of the latter crafted from elements of the former. Conservation decision-making around some of these installations is faced with the troubling question of whether to bring forth any of the earlier performative aspects given that Beuys was fairly categoric in disavowing the presence of such antecedents. In a series of forensic operations, Reiss, Bohlmann and Hausmann and sift through the (literal) dust of two such transmogrified works, once performance pieces now monumentalised as museum installations, and against a backdrop of Beuys’ stated intentions, they gently bring forth resonant traces from the works’ otherwise remaindered former lives. In another form of iterative complexity, Barok et al. present an in-depth study on the practical implementation of a flexible and collaborative documentation system for the characterisation of digital art works. Using as an example a work extruded in innumerable forms by the artist duo UBERMORGEN, the team compare the merits of two open-source version control systems, MediaWiki and Git, in assimilating the diversity of the work’’s holdings, while guiding the reader through their shortcomings and potential benefits in what is an invaluable resource for those charged with caring for digital art. The final article in this hat trick of contributions to the conservation of contemporary art details the current strategy in Tate’s approach to the preservation of performance-based artworks. The strategy presented here, informed by documentary practices annexed from Tate’s time-based media conservation department, has evolved by reflection on the nature of the ‘capture’ of performance in documentation through close theoretical readings and advances made by project participants with its systemic reflexivity furthered by the direct observation of the networks formed for two iterations of a seminal 1970s work, Time by David Lamelas, one at Tate and the other as simultaneously activated in both France and the US. As a result the strategy seeks to dynamically transcribe those elements key to a work along with those in flux by means of a process designed to instrumentally respond to any new affordances encountered across the work’s various activations. Staying within the purview of technology, the fourth article is a thoughtful investigation by Clarricoates and Kotoula into the benefits or otherwise of Journal of the Institute of Conservation, 2019 Vol. 42, No. 2, 77–78, https://doi.org/10.1080/19455224.2019.1619968

中文翻译:

社论

在本期杂志中,开设了一个更新的样式模板,以提供更现代的外观,同时通过在文章顶部突出显示英文摘要以使参考更易于参考,使《华尔街日报》与大多数其他学术出版物保持一致。同样,已经实现了更清晰的字体和所有标题均使用颜色以提高可读性。这些变化不仅可以提高印刷品的可读性,而且更重要的是,可以带来更好的在线体验,因为全球与文化遗产相关的越来越多的依赖于对基于Web内容的访问。详细讨论这个问题:最近的关联数据倡议旨在通过系统地将各种财产联系起来来促进知识生产,其他理论工作集中在将档案馆表征为一种手段,以确保对某些形式的艺术品既能理解又能保持身份认同,并且在本期中的前三篇文章中,放大了所有这些主题的方面。约瑟夫·博伊斯(Joseph Beuys)以精心策划的性能和安装工作而闻名,其中一些是由前者的元素精制而成的。考虑到Beuys对于拒绝此类先例的存在是相当坚定的,围绕这些装置中的某些进行的保护决策面临着一个令人困扰的问题,即是否要提出任何较早的表现方面。Reiss,Bohlmann和Hausmann进行了一系列的法务操作,并筛选了两幅此类经迁移的作品的(文字)灰尘,一旦表演作品被纪念为博物馆装置,并在Beuys明确意图的背景下,它们就轻轻地从作品原本余生的遗迹中产生出共鸣的痕迹。Barok等人以另一种形式的迭代复杂性。目前就数字艺术作品表征的灵活协作文档系统的实际实施进行了深入研究。以艺术家二人组UBERMORGEN以无数形式挤出的作品为例,该团队比较了两种开放源代码版本控制系统MediaWiki和Git的优点,以吸收作品的多样性,同时指导读者通过它们的缺点和潜在的好处,对于那些负责照顾数字艺术的人来说是宝贵的资源。这是对当代艺术保护所做的贡献的最后一篇文章,详细介绍了泰特(Tate)保护基于表演的艺术品的方法的当前策略。本文所介绍的策略是根据泰特大学时基媒体保护部门随附的文献记录实践而制定的,它通过仔细地阅读理论著作和项目参与者系统性反思而取得的进步,反思了文献中“捕获”绩效的性质通过直接观察由1970年代开创性著作的两次迭代形成的网络-戴维·拉梅拉斯的《时代》,一个在泰特美术馆,另一个在法国和美国同时启动。结果,该策略试图通过一种旨在对在工作的各种激活过程中遇到的任何新能力进行工具响应的过程,来动态地将工作中的那些要素与变动中的要素进行转录。处于技术范围内,第四篇文章是Clarricoates和Kotoula对《保护学院学报》(2019年)第1期进行的有思想的研究。42,第2号,第77-78页,https://doi.org/10.1080/19455224.2019.1619968
更新日期:2019-05-04
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