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Which clippings match 'Typology' keyword pg.1 of 1
19 AUGUST 2014

Information Design and Data Visualisation

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2014accessible designclear communicationcommunication designdata visualisation • design for visual communication • Edward Tufte • information complexity • information design • information is dead until it is read • LATCH (acronym) • London College of Communication • mappingmeaningRichard Saul Wurmantimeline • Tony Pritchard • typographytypology • understandable design • usability design • visual communicationvisual grammar • visual representations of information • visually engaging design

CONTRIBUTOR

Simon Perkins
15 MAY 2011

Spomenik: monumental geometry echoing the shapes of flowers, crystals, and macro-views of viruses or DNA

"During the 1960s and 70s, thousands of monuments commemorating the Second World War – called 'Spomeniks' – were built throughout the former Yugoslavia; striking monumental sculptures, with an angular geometry echoing the shapes of flowers, crystals, and macro–views of viruses or DNA."

(Photo–Eye via Amazon.com)

Jan Kempenaers (2010). 'Spomenik', Roma Publications

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1960s1970sabandoned places in Eastern Europeaesthetics • Antwerp • architectureBalkans • Bosnia • brutalismconcreteCroatiacrystaldeserted placesDNAdocumentary photographerEastern blocflowerfuturisticfuturistic designgeometric formsgeometry • Herzegovina • Jan Kempenaers • Kosovo • Macedonia • macro-views • melancholy beauty • Metohia • modernism • Montenegro • monument • monumental sculptures • neglect • neglected architecture • photographphotographersculpture • Serbia • SFRY • shapeSloveniaSocialist Federal Republic of YugoslaviaSoviet monuments • spomenik • symbolismtypology • victims • virusvisual representations of scientific concepts • Vojvodina • Willem Jan Neutelings • WWIIYugoslavia

CONTRIBUTOR

Simon Perkins
01 JANUARY 2010

The preservation of Net Art in museums. The strategies at work

"The preservation of net art is a complex topic which requires the construction of a specific approach to look at internet artwork, one that takes into account the material dimension of the artwork. Preservation does not deal only with aesthetics, not only about the way the audience experiences artworks, but needs to have access to these types of information so the preservation process can take place.

This research presents an overview of works created by and for the Internet. The artworks which are described in this work are chosen specifically as examples for preservation purposes, and not according to a typology created for different purposes. This research also presents an overview of the institutions (based in Europe and in North America) that have developped specific preservation strategies. It takes the form of case analyses, which stem from observations, readings, and interviews.

This thesis also looks into the interaction between preservation and the other functions of the museum (collection, exhibition, research). Preservation cannot be tackled independantly, because it deals with the artwork's life cycle within the museum. Every art work has to be treated in a way which is specific to itself. The issue of notation also arises then, as it's necessary to find ways to describe artworks, especially as their technological environments will eventually be obsolete. This research explores the ways to compensate obsolescence : emulation, migration, score, re–interpretation, self–archiving, automatic archiving, etc (which can be also combined).

The attention to net art work as material socio–technical object means to find a way to look at those works : the code which composes the artwork, the files, its different files and the way they are organized, what happens on the screen, the interactions between the artward and the audience that experience it. The notions of code performativity and activation are useful in this approach.

Preservation happens only when value is attributed to what is preserved. Two categories of actors outside of the museum take part into this process : the art market on the one hand and art critics and art historians on the other. Both influence and get influenced by the museum.

All these elements allow the composition of a pluridisciplinar cartography on the topic of net art preservation."

(Anne Laforet)

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archivearchivingartistic practiceartworkcartographycollectconstellationsconvergencecreative practicedigitaldigital cultureenquiryimmaterialInternetInternet artworkmedia artmuseumnet artnet-art.orgnew mediaobject • objectlessness • obsolescenceperformativityPhD • pluridisciplinar • pluridisciplinar cartography • preservationrepositorytechnologythesistypology

CONTRIBUTOR

Simon Perkins
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