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#MAC II EMULATOR COMPUTER MUSEUM SOFTWARE#

Museums are now, more often than ever, acquiring software-based artworks. The four authors jointly examine questions related to creating, condition checking, accessing, and storing disk images within the context of an art museum. Guggenheim Museum in New York, and Flaminia Fortunato and Caroline Gil at the Museum of Modern Art in New York. This article presents the outcome of a collective research endeavor undertaken by Eddy Colloton at the Hirshhorn Museum and Sculpture Garden in Washington, DC, Jonathan Farbowitz at the Solomon R. By sharing their findings, the authors seek to demystify disk imaging for the purposes of long-term preservation and display within an art museum, focusing on the tools used for creating disk images and accessing them in the future.

Recognizing that the creation of a disk image is just one step at the beginning of an artwork’s preservation life cycle, the authors engage in a frank and open discussion about their successes and failures with creating and managing disk images. the difficulties of using a disk image to run a software-based artwork independent of the original hardware while ensuring a faithful representation of the work and its work-defining properties.

the development of practices and guidelines for condition checking, quality control, and troubleshooting of disk images after their creation and.

differences between disk image formats and tools used for creating such disk images, their respective advantages and disadvantages, and their suitability for long-term preservation.

The authors will jointly examine questions related to creating, condition checking, accessing, and storing disk images while addressing key issues, including: Guggenheim Museum in New York, The Museum of Modern Art (MoMA) in New York, and the Hirshhorn Museum and Sculpture Garden in Washington, DC. This article presents the findings of a yearlong cross-institutional collaborative examination of disk imaging between the Solomon R. However, the vast array of formats, tools, and procedures used in disk imaging and practiced in various disciplines for different purposes, often complicate finding appropriate procedures and workflows that suit museum collections.

#MAC II EMULATOR COMPUTER MUSEUM SOFTWARE#

A disk image, a bit-for-bit copy of a digital storage device, is a powerful tool for encapsulating both the artwork and its software environment for preservation or documentation.

One practice that is emerging among conservators, drawing from digital forensics and widely adopted by libraries and archives, is disk imaging. Within this context, media conservators have sought tools and techniques to deal with the urgent need to back up data from aging computers and hard drives in museum collections. Through various forums, symposia, and peer networks, museum professionals are collaborating to address the unique challenges in caring for these types of artworks. The growing prevalence of computer and software-based art in contemporary museum collections has been met with serious discussion and research. Eddy Colloton Jonathan Farbowitz Flaminia Fortunato Caroline GilĮlectronic Media Review, Volume Six: 2019-2020 ABSTRACT