DIGITAL PRAGMATA BEN FINO RADIN FULL

DIGITAL PRAGMATA BEN FINO RADIN FULL

Listen to the full episode to hear more on this topic, and why Dragan’s first album was titled Maxi German Rave Blast Hits 3. UMaine Digital Curation Teleconferences This page offers information on selected teleconferences offered to students in the University of Maines Digital Curation program. I think that can benefit the field as a whole.” What’s most needed, he argues, may be less in-depth case studies than meta-level, cross-cutting analyses. “If you think about this whole field as a community where different folks are focusing on different things and building out different specializations and you're all friends with each other and you're exchanging information and you are helping each other out and you're making projects together. This approach coincides nicely with Rhizome's needs, with thousands of works in the ArtBase archive, and the tools and approaches that Dragan has nurtured in this context have had important field-wide impact: the ArtBase’s use of Linked Open Data Emulation as a Service and the Webrecorder system (now an independent project).ĭuring the episode, Dragan also applies this systems-level framework to the preservation field itself, and observes that there is not enough field-wide dialogue. We are thrilled that Ben has joined us as an Advisor and is working with us on a key part of the Niio platform digital preservation. This has deeply informed his work at Rhizome, where he has taken a systems-level approach to digital preservation, eschewing as much as possible the in-depth focus on “heroic” great works that is more typical of museums. Having worked in digital media conservation at both the Museum of Modern Art in New York and Rhizome, in 2017 Ben Fino-Radin set up Small Data Industries, a business that supports clients, including major museums and artists or their estates, in preserving and archiving digital art and cultural heritage.

From his early exposure to the demo scene, his work with Rephlex Records, and his collaboration with Olia Lialina on the Digital Folklore book and more, Dragan’s story speaks to the importance of community and material culture in shaping creative practice. This session will present research findings from a user-centered design approach to architecting a decentralized storage network that meets the needs and requirements of art institutions while leveraging recent advances in cryptographic decentralized storage protocols currently unexplored in digital preservation.Rhizome’s Digital Preservation Director Dragan Espenschied recently sat down with Ben Fino-Radin of Small Data Industries, host of the Art and Obsolescence Podcast, to discuss the ways in which his work as an artist, musician, and developer informed his approach to preserving digital art. How did you get started with Small Data Where did the inspiration come from I trained as an artist. However, these existing cooperative storage networks and technologies have been built very much by and for libraries and archives their use does not map to the needs and requirements of art collections. Erin Barsan and Ben Fino-Radin Electronic Media Review, Volume Six: 2019-2020 ABSTRACT The collections care of time-based media art requires, as a basic principle, that one stores more than just one copy of digital collections objectsas the edict goes: lots of copies keep stuff safe. We spoke with Fino-Radin about his career path, how he first discovered the Filecoin network, and his vision for leveraging the power of decentralized storage for artists, collectors, and institutions. By sharing their infrastructures with one another, members of these networks have the potential to meet high digital preservation standards at lower costs, with less logistical overhead or dependence on commercial cloud services. In the field of libraries and archives, numerous institutions have turned to the model of cooperative digital preservation storage networks. He is in practice at Rhizome at the New Museum, as well as at MoMA’s Department of Conservation. The 20th century in particular has witnessed the greatest explosion of new materials for artistic experimentation. By Ben Fino-Radin Artists have always reached for the tools, materials, and technologies of their time. However, these standards and best practices are-especially for time-based media art collections with large quantities of moving images-very difficult and costly to achieve. Ben Fino-Radin is a New Yorkbased media archaeologist and conservator of born-digital and computer-based works of contemporary art. NovemUncategorized Image: View from the Window at Le Gras, 1826 or 1827, the earliest surviving camera photograph.

The collections care of time-based media art requires, as a basic principle, that one stores more than just one copy of digital collections objects-as the edict goes: “lots of copies keep stuff safe.” The digital preservation field has given us incredibly detailed standards and best-practice guidelines that describe the process of keeping multiple geographically distributed copies of preservation-worthy material.

Electronic Media Review, Volume Six: 2019-2020 ABSTRACT

Digital pragmata ben fino radin