2021-11-27, Lurk, Tabea

Der Beitrag vermittelt einen Überblick über die Publikationsoptionen der Künstlerischen Forschung (Fokus: Gestaltung und Kunst) im deutschsprachigen Raum. Dabei wird zum einen auf Aspekte des Open Access eingegangen. Zum anderen werden Herausforderungen angesprochen, die ähnlich auch in anderen Disziplinen anzutreffen sind. Genannt wird die Anforderung, mit und in Medien wie Bild, Klang, Video/Film oder Arrangements zu argumentieren, was Gestaltungsfreiräume innerhalb der Publikationsmedien erfordert. Andere Schwierigkeiten zeigen sich bei der Aufnahme in übergeordnete Wissensportale. Nicht zuletzt spielt auch die Verfügbarkeit von Publikationsservern und institutionellen Repositorien eine Rolle.

2018, Lurk, Tabea

2015, Lurk, Tabea

2018-06-03, Lurk, Tabea, Enge, Jürgen

Presenting 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.

2018, Lurk, Tabea, Fayet, Roger, Krähenbühl, Regula

2014, Lurk, Tabea, Enge, Jürgen, Kramski, Heinz Werner, Straube, Armin, Schilke, Steffen

2018-04, Lurk, Tabea, Schwander, Markus, Florenz, Beate, Brefin, Daniel, Münster, Sander, Friedrichs, Kristina, Niebling, Florian, Seidel-Grzesińska, Agnieszka

The text describes specific aspects of the documentation of the research project "Grenzgang" in the integrated catalogue of the media library of the Acad-emy of Art and Design (FHNW HGK). "Grenzgang – Artistic Investigations on Perception and Communication of Space in a Trinational Border Area" – is anchored geographically in Basel and the surrounding region, while its method can be located between artistic research and promenadology. References to research results from various project phases are documented with diverse analogue and digital media in the media library’s integrated catalogue. This catalogue attempts to display such artistic works in their hetero-geneity and variety and to make them accessible for research alongside other more classic library resources. The contribution submitted here elucidates typical challenges which can occur on the threshold of the catalogue/archive in the aftermath of complex artistic research projects. Specifically, the ques-tion arises of what happens when an active investigation like “walking” en-counters an apparently static collection facility like the media library.

2018, Lurk, Tabea, Slavko, Kacunko