Risk assessment for preservation in the active life of complex digital objects - Acting on Change...

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GRANT AGREEMENT: 601138 | SCHEME FP7 ICT 2011.4.3 Promoting and Enhancing Reuse of Information throughout the Content Lifecycle taking account of Evolving Semantics [Digital Preservation] “This project has received funding from the European Union’s Seventh Framework Programme for research, technological development and demonstration under grant agreement no601138”. Pip Laurenson, Patricia Falcao (Tate)

Transcript of Risk assessment for preservation in the active life of complex digital objects - Acting on Change...

GRANT AGREEMENT: 601138 | SCHEME FP7 ICT 2011.4.3 Promoting and Enhancing Reuse of Information throughout the Content Lifecycle taking account of Evolving Semantics [Digital Preservation]

“This project has received funding from the European Union’sSeventh Framework Programme for research, technologicaldevelopment and demonstration under grant agreement no601138”.

Pip Laurenson, Patricia Falcao (Tate)

To identify risks comprehensively,

To estimate correctly their magnitude and associated

uncertainties

To devise cost-effective solutions to treat those risks

To communicate clearly with stakeholders throughout this

process

To repeat the process regularlyestaw

Agnes Brokerhof (Collection Risk Management – The Next frontier; presented at the CMA Cultural Property

Protection Conference, Ottawa, 2006)

‘much of the usefulness of cultural property risk assessment arises from forcing careful thinking about how values are impacted by change’

Robert Waller (Conservation Risk Assessment: Matching Approach with Purpose. 15th Triennial Conference, New Delhi: 22-26 September 2008 : Preprints. Allied Publishers, 2008.)

● How was the work produced? Which technologies are involved in the production process and why?

● What will be provided to Tate as part of the acquisition? Are these the best elements for preservation?

● Is there a need for any specific hardware?

● What are the display requirements (for instance gallery dimensions, projection dimensions, wall colours)?

Rafael Lozano Hemmer Subtitled Public (2005)

Subtitled Public consists of an empty exhibition space where visitors are detected by a computerised surveillance system. When people enter the space, the system generates a subtitle for each person and projects it onto him or her: the subtitle is chosen at random from a list of all the verbs conjugated in the third person. The only way of getting rid of a subtitle is to touch another person, which leads to the two subtitles being exchanged. The project exists in Spanish, English and French versions.

Rafael Lozano-Hemmer (http://www.lozano-hemmer.com/subtitled_public.php)

Diagram by Klaus Rechert, University of Freiburg

Thank you!