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Lizzie Muller
Towards an oral history of new media art
Page 6/6
References
Bodker, S. (2000) “Scenarios in User-Centred Design - Setting the Stage for Reflection and Action” Interacting with Computers 13, pp. 61-75.
Costello, B., L. Muller and S. Amitani (2005) “Understanding the experience of interactive art: Iamascope in Beta_space” In Proceedings of Second Australasian Conference on Interactive Entertainment, Sydney
Depocas, A. (2002) "Digital preservation: recording the recoding - the documentary strategy", The Daniel Langlois Foundation for art, science and technology, Montréal
[http://www.fondation-langlois.org/html/e/page.php?NumPage=152]
Depocas, A., J. Ippolito, and C. Jones (Eds) (2003) "Permanence Through Change: The Variable Media Approach", The Daniel Langlois Foundation for Art, Science, and Technology, Montreal, and Solomon R. Guggenheim Museum, New York, NY
[http://www.fondation-langlois.org/html/e/page.php?NumPage=200]
Dewey, J. (1959) Art as Experience. Capricorn Books; Paragon, New York, NY
Dourish, P. (2001). Where The Action Is. MIT Press, Cambridge, MA
Ellis, J. (1993) Keeping Archives. Thorpe in association with the Australian Society of Archivists, Port Melbourne
Fromme, R. and S. Fauconnier (2004) “Capturing Unstable Media Arts—A formal model for describing and preserving aspects of electronic art,” in Frohne, U., J. Guiton and M. Schieren (Eds.) Present Continuous Past(s): Media Art: Strategies of Presentation, Mediation and Dissemination. Springer Verlag, Heidelberg
Jones, C. (2008) "Surveying the state of the art (of documentation)", The Daniel Langlois Foundation for Art, Science, and Technology
[http://www.fondation-langlois.org/html/e/page.php?NumPage=2125]
Jones, C. and L. Muller (2008) "The Giver of Names: Documentary Collection", The Daniel Langlois Foundation for Art, Science, and Technology [http://www.fondation-langlois.org/html/e/page.php?NumPage=2121]
Jones, C. and L. Muller (2008) “Between real and ideal: Documenting media art,” Leonardo, Volume 41[4], pp. 418-419
Kvale, S. (1996). InterViews - An Introduction to Qualitative Research Interviewing. Sage Publications, London and New Delhi
Mackay, Nancy (2007) Curating Oral Histories, Left Coast Press, Walnut Creek, CA
Muller, L., E. Edmonds and M. Connell (2006a) “Living laboratories for interactive art” CoDesign: International Journal of Co Creation in Design and the Arts, Volume 2[4], pp.195-207
Muller, L., G. Turner, G. Khut and E. Edmonds (2006b) “Creating Affective Visualisations for a Physiologically Interactive Artwork” In Proceedings of the 10th International Conference of Information Visualisation, London, pp. 651-658
Reimer, D. (Ed) (1984) Voices: A guide to oral history, Sound and Moving Image Division: Provincial Archives of British Columbia, Victoria, B.C.
Richards, L. (2005) Handling Qualitative Data: A Practical Guide, Sage Publications, London and New Delhi
Rinehart, R. (2007). “The Media Art Notation System: Documenting and Preserving Digital/Media Art.” Leonardo, Volume 4[2], pp.181-187.
Bodker, S. (2000) “Scenarios in User-Centred Design - Setting the Stage for Reflection and Action” Interacting with Computers 13, pp. 61-75.
Costello, B., L. Muller and S. Amitani (2005) “Understanding the experience of interactive art: Iamascope in Beta_space” In Proceedings of Second Australasian Conference on Interactive Entertainment, Sydney
Depocas, A. (2002) "Digital preservation: recording the recoding - the documentary strategy", The Daniel Langlois Foundation for art, science and technology, Montréal
[http://www.fondation-langlois.org/html/e/page.php?NumPage=152]
Depocas, A., J. Ippolito, and C. Jones (Eds) (2003) "Permanence Through Change: The Variable Media Approach", The Daniel Langlois Foundation for Art, Science, and Technology, Montreal, and Solomon R. Guggenheim Museum, New York, NY
[http://www.fondation-langlois.org/html/e/page.php?NumPage=200]
Dewey, J. (1959) Art as Experience. Capricorn Books; Paragon, New York, NY
Dourish, P. (2001). Where The Action Is. MIT Press, Cambridge, MA
Ellis, J. (1993) Keeping Archives. Thorpe in association with the Australian Society of Archivists, Port Melbourne
Fromme, R. and S. Fauconnier (2004) “Capturing Unstable Media Arts—A formal model for describing and preserving aspects of electronic art,” in Frohne, U., J. Guiton and M. Schieren (Eds.) Present Continuous Past(s): Media Art: Strategies of Presentation, Mediation and Dissemination. Springer Verlag, Heidelberg
Jones, C. (2008) "Surveying the state of the art (of documentation)", The Daniel Langlois Foundation for Art, Science, and Technology
[http://www.fondation-langlois.org/html/e/page.php?NumPage=2125]
Jones, C. and L. Muller (2008) "The Giver of Names: Documentary Collection", The Daniel Langlois Foundation for Art, Science, and Technology [http://www.fondation-langlois.org/html/e/page.php?NumPage=2121]
Jones, C. and L. Muller (2008) “Between real and ideal: Documenting media art,” Leonardo, Volume 41[4], pp. 418-419
Kvale, S. (1996). InterViews - An Introduction to Qualitative Research Interviewing. Sage Publications, London and New Delhi
Mackay, Nancy (2007) Curating Oral Histories, Left Coast Press, Walnut Creek, CA
Muller, L., E. Edmonds and M. Connell (2006a) “Living laboratories for interactive art” CoDesign: International Journal of Co Creation in Design and the Arts, Volume 2[4], pp.195-207
Muller, L., G. Turner, G. Khut and E. Edmonds (2006b) “Creating Affective Visualisations for a Physiologically Interactive Artwork” In Proceedings of the 10th International Conference of Information Visualisation, London, pp. 651-658
Reimer, D. (Ed) (1984) Voices: A guide to oral history, Sound and Moving Image Division: Provincial Archives of British Columbia, Victoria, B.C.
Richards, L. (2005) Handling Qualitative Data: A Practical Guide, Sage Publications, London and New Delhi
Rinehart, R. (2007). “The Media Art Notation System: Documenting and Preserving Digital/Media Art.” Leonardo, Volume 4[2], pp.181-187.
Lizzie Muller © 2008 FDL
Page 6/6Index:
- Lizzie Muller, Towards an oral history of new media art
• Introduction
• A future-use scenario
• Why create an oral history?
• How to create an oral history
• Conclusion
• References
Related page:
David Rokeby, The Giver of Names (1991-)This documentary collection maintains the tension between the ideal notion and the real manifestation of the artwork.