Lurk, Tabea
Lade...
E-Mail-Adresse
Geburtsdatum
Projekt
Organisationseinheiten
Berufsbeschreibung
Nachname
Lurk
Vorname
Tabea
Name
Lurk, Tabea
9 Ergebnisse
Suchergebnisse
Gerade angezeigt 1 - 9 von 9
- PublikationGrenzgang – Laying a Keyword Pat(21.11.2018) Schwander, Markus; Brefin, Daniel; Florenz, Beate; Lurk, TabeaBased on the communicative forms of spatial perception developed in the research project Grenzgang - Artistic Investigations on Perception and Communication of Space, we’re proposing a walk through Rotterdam which discusses methods of artistic research as they relate to the fluctuating space of the city and inducts the experiences of the participants into the digital continuation of the project Grenzgang.06 - Präsentation
- PublikationDatenbanken, digitale Plattformen und Vernetzung: Moderation Sektion I(02.11.2018) Lurk, Tabea06 - Präsentation
- PublikationVon der teaching library zum library curation. Die Mediathek der HGK FHNW als Medium und Informations-Hub(30.08.2018) Lurk, TabeaDer Beitrag zeigt Vernetzungs- und Kommunikationsstrategien auf, welche unsere Nutzerinnen und Nutzer in einen kontinuierlichen Dialog / Wissenskreislauf mit der Mediathek der Hochschule für Gestaltung und Kunst (HGK FHNW) Basel, ihren Katalog und ihre Services einbinden. Während die Vermittlung von Informationskompetenz und der zugehörigen Methoden und Werkzeuge den Kontakt zu Lehre und Forschung herstellen, fliesst der Rücklauf des Wissens der Hochschulangehörigen längst nicht mehr nur in die Akquisition neuer Medien ein, sondern ermöglicht mithilfe spezifischer Zotero-Workflows konkrete Kuratierungshandlungen. Dies wird nötig, da es die digitale Überfülle von Inhalten und Informationen – die in Gestaltung und Kunst häufig spartenübergreifend anfallen – erfordert, den Fokus auf das Filtern, Aufbereiten und Kontextualisieren der Ressourcen zu lenken. Zugleich können so die Systematiken fallspezifisch flexibilisiert und die Vernetzung mit der lokalen Community vorangetrieben werden.06 - Präsentation
- PublikationPreserving Media Art Objects and Digital Archives(03.06.2018) Lurk, Tabea; Enge, JürgenPresenting core areas of knowledge, which are to be covered the one way or another while pre-serving complex digital objects and digital art, the presentation is structured into three five parts: Part I: Media Art Examples: Short and selective overview Part II: Media Art Preservation: Programs and Strategies (1990s – 2015) Part III: Policies – Archival Appraisal – Sustainability & Accessibility Part IV: Case Studies Part V: Instead of a summary: getting prepared for the future. For obtaining a common terminological but also work-based basis for the discussion, the first part of the workshop begins with a historical overview of well-known media artworks (Part I) and groundbreaking preservation projects and conservation approaches (Part II). Part I is de-signed as kind of a dialog, combining the different perspectives from an art historical point of view and information science to approach media art. This section is followed by basic considera-tions on the conception and organization of digital archives (Part III). Here we try to illustrate specific requirements based on examples of our own professional practice. If time allows, the afternoon session concludes with a brief outlook on current funding policies (Switzerland, Ger-many and the EU), outlining core aims and requests such as open access, sustainability, interna-tional networking (all observed from the perspective of Data Management). Furthermore, expe-riences of EU evaluation and peer reviewing processes from an insider's perspective might be given – possibly in rather informal talk situations. This last section is designed in a rather generalized way to allow a smooth transition to a Q&A. Leaving some of time for questions and suggestions, we would be interested to learn something about the Russian side / approached in the sketched fields. The afternoon session will deepen the terms and concepts outlined in the morning session based on concrete case studies. It covers the entire preservation, maintenance and data management cycle. Since the foundation of permanent conservation operations depends on the quality of the identification and documentation of the significant properties of an artwork, special attention is given to this part. The spectrum of the presented works reaches from formerly videographic art-works through installation and net-based works until types of artworks that are no longer re-garded as closed in the classical archival sense. Again, there will be room for a Q&A at the end of the session.06 - Präsentation
- PublikationVermitteln – Recherchieren - Beurteilen. Katalogkompetenz und Kommunikation im digitalen Wandel(08.12.2017) Lurk, TabeaIm Zentrum der hochschulinternen Kommunikation und der Vermittlung von Informationskompe-tenz steht der integrierte Katalog der Mediathek der HGK FHNW. Die unterschiedlichen Aspekte und Vermittlungsziele werden im Rahmen der Präsentation anhand von anschaulichen Screens-hots aus dem Katalog sowie dem zugehörigen theoretischen Rahmen erläutert.06 - Präsentation
- PublikationGrenzgang - When promenadology meets library(30.03.2017) Lurk, Tabea; Schwander, MarkusAt the core of the presentation is the documentation of the research project GRENZGANG in the integrated catalogue of the media library of the Academy of Art and Design (FHNW HGK). For two years GRENZGANG has been occupied, in the mode of artistic research (Frayling 1993, Tröndle 2012, Mersch 2015, Fernandes, Miranda 2015 ), with aspects of urban history, drawing on architectural heritage and cultural history. Both the application of partly digital (documentary) media and the formats of the resulting artworks and documentations illustrate how complex space and spatial experience in an increasingly digitally over-laid world can look. The artistic interpretations and interventions of GRENZGANG make those dimensions of specific places and spatial experiences sensorily accessible which are, for the most part, more difficultly perceived. The integrated catalogue of the media library attempts to display such artistic works in their heterogeneity and variety alongside other rather classic library resources. Typical challenges occurring on the threshold of the catalogue/archive in the aftermath of complex artistic research projects will be elucidated06 - Präsentation
- PublikationBecoming Digital. Towards an Integrated Model of Information Supply in the Context of Art and Design(29.10.2016) Lurk, Tabea“By transforming a largely oral scholarly culture into a largely written one”, as Ian F. McNeely and Lisa Wolverton state in Reinventing Knowledge (2008, 3), “the library made the Greek intellectual tradition both portable and heritable”. Both aspects, availability of information (ubiquity) and memorability of knowledge (Überlieferung / tradition), are still key requirements for libraries , even if the (physical) space, as a third factor, has increasingly gained of importance during the last two decades. Remarkable renovation, renewing or new constructions within the library sector emphasize this trend and urge, at the same time, to the continuously growing demand for a flexible, "third place" (Oldenburg 1999). Architectural tenders, competitions and concepts show the entanglement of specific information needs, a dedicated culture of media usage and variable spatial ideas that are correlated in the field of academic learning concepts. At the media library of the Academy of Art and Design (FHNW) Basel the melting requirements become even more virulent and thus explicit, since the place is designed to encourage artistic creativity. The specific place (8th/top floor of the Academy), its equipment (shelfs as in situ sculpture) and the environment (carved mountains/ city panorama) provide an organic structure which is meant to enable flexible (literature) research, cross thinking and the generation of new ideas. As elsewhere, functionality and aesthetics merge to a tectonically folded incunabula of a culture of knowledge that is deeply linked to historic, current and possibly future ideas of information, combining historic stocks of six different art and design departments, with different ways of thinking, structuring are mixed in a postmodern way. At the same time the open structure, which invites users and guests to browse through the boxes (shelves), touch media, use, relax…, causes logistic problems. Alternative thinking is required from an organizational point of view…. And as media library (Mediathek) there is also the obligation to become digital, support open access, and represent an integrated view of information competence, which handles digital and analogue resources equally, with respect, user friendly and enjoyable. In this very specific situation we have launched a comprehensive inventory project, which offers special browsing as alternative approach to the catalogue. The presentation will explain the different steps and their interrelation. Starting with a 3D Model of the media library, in which media are located, the presentation goes further until it ends with a semantic browser which indicated certain aspects of future directions. References Debray, Régis (2003): Einführung in die Mediologie. Bern: Haupt Verlag. McNeely, I. F.; Wolverton, L. (2008): Reinventing Knowledge: From Alexandria to the Internet: W. W. Norton. Oldenburg, Ray (1999): The great good place. Cafés, coffee shops, bookstores, bars, hair salons, and other hangouts at the heart of a community. Berkeley: Marlowe Distributed Publishers Group West.06 - Präsentation
- PublikationZwischen Sammlung und Archiv. Redebeitrag zur Wertigkeit von Dokumentationen im Kunstkontext(29.06.2016) Lurk, Tabea06 - Präsentation