The challenges of Digital Art Preservation

THE CHALLENGES OF DIGITAL ART PRESERVATION

by Lino García and Pilar Montero Vilar

The need to preserve digital art is already an emergency. Digital art heritage is endorsed by

UNESCO. Museums, foundations, collectors, etc. increase their collections and at the same

time increase the associated problems with the unstable media conservation, rapid

technological obsolescence, and the lack of development methodologies, documentation,

conservation and restoration. The tools and protocols available for the proper conservation

of such assets are still scarce and the process becomes virtually a forensic experience. The

first part of the article is a categorisation of digital art, which is a starting point for the

understanding of its complexity and scope. The second part describes various approaches to

preservation on a discussion that combines both categories and attempts to clarify the

challenges that are imposed by this relatively new expression of contemporary art.

Introduction

The necessity of preservation of the digital heritage

is, at the moment, a desperate claim. Its own un-

stable nature requires an urgent intervention.

International institutions such as UNESCO are

aware of it. However, except for the case of edito-

rial, bibliographical and documental heritage,

the current initiatives and efforts are insufficient;

the techniques and applicable methodologies

are even scarcer, not just for conservation and

restoration, but also for documentation and cata-

loguing. This complex, multidisciplinary and ur-

gent issue poses a major challenge to museums,

galleries and institutions.

In this article, the authors carry out a study of

the state of the art in the conservation and res-

toration of digital heritage and, in particular, of

digital art. A categorisation scheme of digital

art is proposed herein as a starting point of the

analysis of its complexity. Next, the strategies

of conservation and restoration are also covered.

Finally, the application complexity of these ap-

proaches is discussed according to the previous

categorisation and the increasing challenge that

the new multidisciplinary approach represents,

as well as the technological obsolescence and

the absence of methodologies, standards, etc.

Defining the unstable: the categorisation challenge

The preservation of contemporary art, and of di-

gital art in particular, is sort of a forensic science1.

The concept conversion in art turned into case-by-

case strategies of preservation, instead of general

ones. The conservation and restoration of each

work, usually with a strong temporal, unstable

and ephemeral character, requires an analysis and

a particular approach as diverse as the contem-

porary art itself.

Figure 1 is a map of the categorisation of digital

art. The left side shows a Venn2 diagram of a pos-

sible constellation, while on the right side there

is the correspondent hierarchically ordered cap-

tion. The widest category (universe) in this rep-

resentation of groups (unstable media) contains

all the ephemeral artistic manifestations, or those

of unstable nature, being a subset of a bigger

universe: the contemporary art. The new media

art is a term frequently but inappropriately used

to refer to artistic contemporary practices in the

intersection of art and technology. The art and

technology discipline gathers those activities that

benefit of new technologies, not necessarily ap-

plied to communication, while the new media art

comprises those artistic expressions based on

technologies of the communication media [1].

Laura Barreca [2] shows a constructivist approach

based on the combination of the three C: comput-

ing, communication, content. This way, a work is

considered new media when it uses the outcome

of some of the possible combinations. For example,

communication + computing = mobile telephony;

communication + content = cable TV and interac-

tive TV; content + computing = CD-ROM, DVD; etc.

Digital art has multiple meanings. In this context

digital arts are those artistic practices that con-

sume, process and/or produce digital information,

1 As for the application of scientific practices to the conser-vation process.

2 Venn diagrams are representations of the set theory that shows graphically the mathematical or logical relationship between different groups of things (sets). Each set is normally represented by an oval or circle but we allowed ourselves to represent them as rectangles. The diagram is an approach towards a graphic and organized representation of the mul-tiple terms used in this environment and their interrelations; the volumes of the sets do not carry information and the in-tersections are not very accurate.

LINO GARCÍA AND PILAR MONTERO VILAR

XX e-conservation

usually audiovisual, that always demands the use

of a computer, or at least of those technologies

with digital processing capacity such as micro-

controllers, microprocessors, digital signal pro-

cessors, etc. From this point of view, the tradi-

tional videoart, for example, should not be con-

sidered digital art even when the most reasonable

conservation strategy is the digitisation of the

media, with the highest quality possible and should

not be exclusively restricted to the use of analo-

gical videotapes. Figure 1 shows a small intersec-

tion between the two categories which take into

consideration these cases. Very different is the

intersection between videoart and interactive art,

where those interactive works that use, somehow,

digital video to generate new realities coexist.

Videoart is static by nature since it documents a

process and/or artistic result, while the interac-

tive videoart is dynamic, ephemeral and time-based.

The uncertainty of this universe is conditioned by

the decadence of the environment we live in. Every-

thing is condemned to die. Only the continuous

human intervention makes possible to prolong

the existence of inanimate objects. Any media, no

matter how robust, is exposed to an erosion process

by its interaction with the environment, whether

biological, chemical or physical, or even any pos-

sible combination of these.

The power of the digital media is related with the

form in which it appeals to the senses3 [3]. How-

ever, it contains an additional ingredient that ac-

celerates its expiration date: the uncertainty that

produces its own development. This continuous

process of technological versioning makes that

today’s fashionable tools will lose their support

tomorrow. When any element of the complex di-

gital skeleton of a work fails, and there is no tech-

nical support, it inevitably dies.

Digital art is intimately connected to science and

technology and this relationship has, in fact, the

biggest influence on its categorisation. Terms

Figure 1. Categorisation of Digital Art

3 Bruce Wands [3] draws attention to the participation of the spectator in interactive art. Wands says “The traditional mu-seum and gallery etiquette of 'Look, don’t touch' cannot be applied to interactive art, which requires the participation of the viewer and can be more accurately described as 'Look, please touch'”.


XXe-conservation

such as digital art, electronic art, multimedia art

and interactive art are often used indistinctly as

synonyms of the new media art [4]. The ambiguity

in the description and use of these terms, as shown

in figure 1, is due to the multiple and complex in-

terrelations between them. Digital art is a subset

of the new media. New media basically consider

other artistic practices such as videoart and video

installations “not necessarily” related with digital

art. This last one closely resembles videoart [5].

According to established perspectives, digital art

categorisation could help understand its tech-

niques and purposes, and it is usually related to

the final media that the artwork adopts, no mat-

ter its process.

There is a certain consensus which considers that

digital art often takes the form of data. As Bruce

Wands stated, “Whether or not this data is trans-

formed into something more concrete depends

on artist. As computers grow more powerful and

software more sophisticated, the variety of forms

(often referred to as ‘polyforms’ or ‘meta-forms’)

that the data can assume is increasing. For ex-

ample, a virtual object created with three-dimen-

sional modelling and animation software can end

up as a single image, as animation, or it can be

output as sculpture. The animation or image can

also be incorporated into a website and thus exist

on the internet as net art” [3].

Software art and computer art are two categories

used indistinctly to define, imprecisely, the same

thing. Computer art is any practice in which com-

puters play the role of production or visualisation

of the work. Software art, however, is related to

the creation by means of algorithms [6] and it is

centred in the code itself4. An algorithm is a well

defined, ordered and finite list of operations that

allows to find the solution to a problem through

consecutive and well defined steps. Roman Verotsko

says that the “whole art uses algorithms in an im-

plicit way, what happens is that we make it explicit

focusing our art in the algorithm” [6, p. 66]. The

database art is a variation that uses data as the

work substance.

The art of digital imaging, includes works that were

created or manipulated digitally to be printed in

a traditional way [7]. The image can also be com-

bined with traditional media, such as drawing and

painting, or incorporated in installations, sculp-

tures or videotape projections [3].

The art of digital sculpture comprises those pro-

jects of creation of tri-dimensional objects that use

digital technology. The virtual sculpture emerged

as an evolution of the digital sculpture5. In the

virtual world the sculpture rules have no limits:

there is no gravity, and the nature, location and

size of the materials are infinite. The artist does

not only have absolute freedom in the creation of

their piece but they can also examine it from any

point of view and can create a virtual and inter-

active world to place it in.

The sound art and that of digital music are com-

monly related with the plastic action or perform-

ance art, the sound, the listening and the hearing.

Like many of the contemporary art genres, sound

art is interdisciplinary by nature, or it adopts hy-

brid forms. It is related with acoustics, psycho-

acoustics, electronics, noise, audio like media

4 According to Alsina [6] "today software art is based on the consideration that software is not only a functional instru-ment, but rather an artistic creation itself: the resulting aesthetic material is the generated code and the expressive form is the programming" (free translation).

5 “[…] the sculptural work never assumes the form of an actual physical object but resides as a file within cyberspace or within the virtual world of the computer” [1].


XX e-conservation

and technology (even analogical), environment-

al sound, exploration of the human body, sculp-

ture, film or video and an entire group of aspects

in expansion that are part of the current speech

of contemporary art [8].

The animation art and digital video art is the di-

gital counterpart of the traditional animation, cine-

matography and video. The 3D computer animation

belongs exclusively to the digital domain. The

production of audio, video, and even high quality

digital cinema, thanks to the spectacular develop-

ment of the techniques, instruments and devices

of audio and digital video, have broaden their use

by even questioning the own essence of the audio-

visual market.

The interactive art comprises all those practices

that usually require the interaction or the spec-

tator's participation without the artist's control.

The possibility that interactivity offers of getting

the spectator-participant involved has been fre-

quently used in artworks of social character.

Digital installations constitute interactive environ-

ments built with digital technology such as pro-

cessors, microcontrollers or computers, sensors,

communication devices, etc. that can be as com-

plex as any robotic system6. This is one of the most

complexes and fascinating areas in digital art, with

more expansion in contemporary art, and the one

that presents greater conservation and restora-

tion challenges.

Virtual reality allows the creation of experiences

of immersion. In general a computer interface that

generates artificial environments in real time or

representations of a perceptive reality is considered

without an objective support. The virtuality es-

tablishes a new form of relationship between the

use of space and time coordinates, overcomes

the temporal-space barriers and configures an

environment in which the information and com-

munication are accessible from perspectives that

were ignored up to now, at least regarding their

volume and possibilities.

Life art and artificial intelligence (a-life) were

born from the old aspiration of reproducing the

characteristics of life by means of the intersection

of robotics engineering, computer science, and

biology7. The term was used for the first time at

the end of 1980 in the first International "Con-

ference on the Synthesis and Simulation of the

Alive Systems" in the Los Alamos National Labora-

tory. Some of the recurrent topics are artificial

evolution, simulation of ecosystems, cellular ro-

bots, behaviour in robotics, etc.

The net art [9] defines the artistic activity based

on the Internet. The use of Internet like mean of

expression8 limits the technologies and specific

services that can be used, such as websurfing,

email and file transfer, and, in turn, affects the

specificity of its conservation, restoration and

interaction.

6 They manipulate data in real time, responding to the be-haviour of certain information either from the environment, from the audience or algorithmically generated.

7 Christopher G. Langton, American biologist founder of the study of artificial life, defines it as "the study of systems built by human beings (artificial) that exhibit characteristic be-haviors of natural alive systems (biological)” [6, p.75].

8 "Appropriation is something so normal that it is almost taken for granted" [4, p. 13]. Although it is a property that is normally associated to new media, it is practically natural to the Internet-based art. "Internet and the file-sharing networks give artists an easy access to images, sounds, texts and other resources. This hyper-abundance of materials, com-bined with the ubiquitous function cut/paste of computer software, has contributed to clarify the idea that is better to create something from nothing than to borrow it".


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The game art is a special type of the software art:

it works with code written by the artist where

the game is considered an artwork. Most of the

times the game is played by means of a browser,

keyboard and mouse. “What makes them art and

not only games? For some, the fact that they are

made as art, for others the fact that they are ex-

hibited as art” [10]. A common manifestation of

this is the manipulation of classic games, either

as their reinterpretation on the same support, or

on a virtual platform or any other medium like the

Internet. The frontier between all these artistic

practices is usually very blurred, independently

of categorisation and uses. A computer code can

generate data (information) of multiple dimen-

sions9, in a centralised or distributed system, with

generic or specific tools. The different combina-

tions will place the work in a certain category that,

in the case of intersections, will probably be la-

belled to the smallest category that includes all

the subsets.

A video, or even a video channel10, would probably

be considered videoart or video installation if it

is part of a sculptural complex, or interactive art

if it requires some sort of interaction. It will be an

animation in case it is generated by a computer,

virtual if it does not correspond to some reality

or net art if it is based on the Internet11.

In this context, categorisation can be very useful

to find the best way to document, to preserve, and

even to restore an artwork. These practices should

be methodical, meticulous, exhaustive and well

documented, as they constitute, in fact, the art

of conserving the digital heritage.

To conserve the unstable: the challenge of getting it right

The multiplicity of perspectives that are interre-

lated in the preservation of digital art requires a

deep theoretical reflection on the aspects involved

in the conservation and preservation of digital art.

After forty years a narrow transdisciplinary col-

laboration becomes absolutely necessary between

all the agents involved: stakeholders, artists,

curators, conservator-restorers and collectors.

Organizations, museums and organisms that col-

laborate in research projects in search of solutions

are increasingly collaborating with each other. In

general, work policies and methodologies are re-

lated with three different problems: exhibition,

collection and conservation. Although this paper

only discusses the challenge of conserving digital

art, they are all closely related12. The preventive

conservation in the context of digital art is directly

related to the availability of the work.

9 The sound is a one-dimension signal; the image is bi-di-mensional; the video, the cinema and the sculpture are three-dimensional and the interactive installations are tetra-dimensional.

10 The difference is totally functional. The video is a closed work and stored in digital format while a video channel is a video source in real time that captures certain reality, such as surveillance, which uses security cameras.

11 The artwork Telegarden by Ken Golberg and Joseph Santar-romana is a good example of it. "The TeleGarden is an art in-stallation that allows web users to view and interact with a remote garden filled with living plants. Members can plant, water, and monitor the progress of seedlings via the tender

movements of an industrial robot arm". This work, developed at the University of Southern California and available (on-line) since June of 1995, and whose keywords could be in-stallation, telepresence and participation, is considered, however, interactive art.

12 Media Art Resource, Electronic arts intermix. The project EIA Online Resource Guide to Exhibiting, Collecting & Pre-servation Media Art establishes a series of common guide-lines: introduction, good practices, basic questions, pro-cesses, contract/condition reports (according to which cases), costs, teams and technologies, interviews and articles. It contains three categories or typology of works: monochannel video, computer-generated works and in-stallations.


XX e-conservation

http://queue.ieor.berkeley.edu/~goldberg/garden/telegarden

http://resourceguide.eai.org

restoration, which cleans or repairs a file or device

when a new version replaces the original one; and

the networked storage that uses computers con-

nected13 by a persistent loop of data that maintains

critical files in circulation or as multiple copies

cloned on several hard disks.

Migration

Migration consists in upgrading the format of a

work from an old media to an up-to-date one14,

for example, from the VHS video format to DVD.

The DVD, for example, uses MPEG2 codec which

is a codification format with loss of information.

In order to guarantee the minimum degradation

of a video, lossless conservation formats should

be used rather than the ones used for distribution.

The degeneration or loss of quality increases ex-

ponentially with the migration generation. A mi-

gration of third or fourth generation doesn't prob-

ably satisfy the minimum quality required by the

artist. This problem is accentuated when a com-

parison assessment is not possible, and involves

the loss of quality in order to keep the integrity

of the original. This strategy assumes that the

preservation of the content or information of an

artwork with respect to the fidelity of its aspect

and perception is more important than the change

of its media.

Emulation

Emulation is a process of simulation of an obsol-

ete platform (technological support that consti-

tutes the media of the artwork15) in a new one.

The aim of this strategy is to maintain alive an

artwork even though its original media is obsol-

etc. The emulation is usually considered, instead

of migration, only in those cases where the ori-

ginal code of the artwork is preserved. The emu-

lation program, from this point of view, is a kind

of virtual machine that emulates the behaviour

of an old one and is able to execute the same code

in a new support.

Strategies

Although there are many people involved in the

preservation of contemporary art, there are very

few strategies for the survival of digital art and

in fact, they are not exclusive for this category,

as they are often applied to the new media. Most

of the documentation and conservation proposals

of contemporary art only pay attention to those

works that don’t make use of digital technology,

such as sculpture installations, or non-complex

type, such as a video installation.

The most common strategies used in the conser-

vation of digital art are:

Storage

It is only possible to substitute a damaged element

if it is available in stock. This is the most basic

strategy and it lies in accumulating the largest

quantity of devices of a certain technology in or-

der to guarantee its readiness in the event of dam-

age or replacement due to wear. The strategy is

effective in the short term but is inappropriate

as the speed of obsolescence of a certain techno-

logy increases, and notoriously bad to capture

contextual aspects of the works, which makes it

useless for net art.

This strategy has some variants such as: the re-

freshing, which consists in the periodic transfer-

ence of the digital information of a media in danger

of obsolescence to a better adapted media; the

13 Cloud computing offers a special opportunity to distribute information copies or clones throughout the world. This type of architecture provides storage services that ensure data protection to natural disasters.

14 In this sense, refreshing is closer to migration than to storage.

15 It could be an operating system, a program, the appear-ance of a video game console, or an electronic device.


XXe-conservation

Migration implies repetition as new formats are

developed while in emulation, this continuity is

only the responsibility of a virtual machine. The use

of a virtual machinery16 instead of just a virtual

machine expands the capabilities of the emulation.

In both cases, it is essential that the upgrade and

migration speed of the virtual support is as slow

as possible, this being one of the highest impact

characteristics in the struggle with time. It is also

important to have the guarantee of support and

long term maintenance.

Another important characteristic is the implemen-

tation of an architecture with high absorption ca-

pacity of any technology. Although it still does

not exist, a technological architectural standard

that meets the needs of digital art preservation

is a demand. This is why it is so important to work

with open17 and standard environments and with

free tools. The proposal of a standard, or group of

standards, for the documentation, preservation

and restoration of digital art is also a priority.

Reinterpretation

It is the most powerful preservation strategy, but at

the same time, one with greater risks. It consists

in reinterpreting the work each time it is re-created.

The reinterpretation can require the writing of

a code for a totally different platform following a

group of specific instructions in situ with respect

to the installation, or to renovate a work in a con-

temporary media with the metaphoric value of an

outdated media. This technique is very dangerous

without the assurance or approval of the artist, but

it may be the only way to guarantee the re-creation,

installation, or re-design of the artwork.

Duplication

This strategy is applied to the media that can be

perfectly cloned. There is no difference between

the original and the copy.

Case Studies

Each artwork should be treated as unique, and can

be considered a case study. All the previous strate-

gies can be applied to almost any category. How-

ever, it is necessary to consider the particularities

of each case and to value the suitability of each

tool, cost, etc.

TV-Garden, for example, created in 1974 by Nam

June Paik, is a work considered by some as New

Media Art, and by others as Video Installation and

even Electronic Art18. It is an installation that

celebrates the diffusion of television like a garden

that extends, composed of natural plants and moni-

tors with intermittent images. The application of

the storage strategy to this work would require to

stock a large quantity of monitors identical to the

originals. The migration, however, would allow to

replace these monitors with others from a differ-

ent manufacturer. The emulation would be even

more permissive, and it would allow the digitiza-

tion of the installation so that modern digital

monitors such as LCD, Plasma or OLED, could be

used. This last strategy would facilitate the pre-

servation of the work in a totally digital world.

Finally, the reinterpretation of the work would

have no qualms about using monitors of different

size. In each case, the most important is the pre-

servation of the artist’s intention and of the per-

ceptual quality, which diminishes as permissibility

increases. Most of these variables can be clarified

with a good documentation, and with the artist

opinion and supervision. A good documentation,

in fact, should clearly quantify the perceptual

17 In terms of interconnection of the systems.

18 The video installation is a subset of new media for which it seems to be a more specific category. However, the corres-pondence with electronic art is given more for its nature than for the means of the expression itself.


XX e-conservation

quality of the images, a process for which the artist

is not prepared and probably neither the institution

that acquires the artwork. Otherwise, how can

one know when the monitor fatigue degrades the

image? How to prepare the illumination to ob-

tain the same visual effect? How do the conditions

and storage time affect the operation of the work?

There are categories with well defined technolo-

gical features such as net art. The pieces, data and

code that share hard disk space in a server can

satisfy in a greater or lesser degree either official

or de facto standard, or can be more or less re-

lated to certain technologies. The use of stand-

ards can be a good strategy because they usually

keep a certain level of compatibility with the pre-

vious technological versions and have a higher

endurance to change.

The protocol of data communication TCP/IP (Trans-

fer Control Protocol/Internet Protocol) is a good

example. In 1969 DARPA (Defense Advanced Re-

search Projects Agency) created ARPANET, a R&D

project to develop an experimental net of pack-

age exchange. This net evolved until 1975 when

it became totally operational. The TCP/IP proto-

cols were developed during that period. In 1983

the protocols were adopted as a military standard

and all the machines connected to ARPANET had

to migrate to those protocols19. At the end of 1983

the original ARPANET was divided in two subnets,

MILNET, the unclassified part of the DDN (Defense

Network Dates) and a new and more reduced ARPANET.

The group of those nets was named the Internet.

Finally, in 1990 ARPANET disappeared but the In-

ternet remains as the net of nets.

TCP/IP are open and free standard protocols.

Their development and update are carried out

consensually and not according to manufacturer

strategies. Anyone can develop products that are

consistent with the specifications. They are soft-

ware and hardware independent. Their wide use

makes them especially suitable for interconnecting

different manufacturer devices, not only for the

Internet but also for local networks. They provide

a common address scheme that allows a TCP/IP

device to find another in any point of the net. More-

over, they are high level standardized protocols

that support services to the user and they are

broadly available and consistent.

To change the programming of all the TCP/IP de-

vices that constitute the Internet, some of them

using protocols dating from 1975 that work, means

a cost, an effort and a collaboration almost impos-

sible to imagine. However, the use of less common

technologies of a certain manufacturer with mul-

tiple versions represents a risk. Companies follow

expansion policies, merge and even go to bank-

ruptcy according to the market more than they

offer guarantees required by their customers. A

proprietary technology has a shorter expiration

date than a standard one, which is empowered by

a community of internet users, scientific and/or

academic institutions, etc.

To migrate a net artwork means to modify code

over and over again which requires a continuous

and considerable effort. The emulation means to

upgrade a virtual machine, probably the server

and the client, and to preserve any and every of

the involved obsolete technologies. To reinterpret

means to re-create the work with completely dif-

ferent technologies. It should be mentioned that

the diskette, which was the normal support for

the distribution of any technology in the 80’s and

90’s, belongs now in a museum, and it is not sup-

ported by most of 2009 computers.

19 In order to facilitate this migration, DARPA BBN (Bolt, Bera-nek & Newman) was founded to implement the protocols TCP/ IP in the Berkeley Unix system (BSD Unix). This was the be-ginning of the long union between TCP/IP and UNIX.


XXe-conservation

However the migration, emulation, and even the

reinterpretation can be the best options when the

adopted technology is prepared to resist obsoles-

cence. Anyway, the core strategy is to remake the

work in a robust and well-documented technology

that makes its display, conservation and restora-

tion easier for the museum.

Conclusions

It is clear that the mobilization and cooperation of

entities such as museums, collectors, foundations,

and other institutions in favour of the preserva-

tion and restoration of digital art is not enough.

The answer to the concern of UNESCO with this

kind of heritage has been focused on document-

ation. There is still much effort to do regarding

the technology, its stability, methodologies and

their most dangerous natural characteristic: the

obsolescence. A remarkable special feature is the

need of involving the artist in the documentation,

preservation and restoration processes.

The preservation of the digital heritage is a multi-

disciplinary technological forensic activity that re-

quires appropriate training, not only for the new

conservators but also for the artists themselves.

The control of the appropriate technology is as

important as the development of methodologies

that raise good practices and pass them on to all

the agents involved: technicians, conservators

and artists.

Digital heritage did not survive the passing of time.

This is both a problem and a reality: challenges are

there and action is urgent.

Acknowledgments

The authors wish to acknowledge the willingness

and collaboration of the preservation and resto-

ration department of the National Museum Centro

de Arte Reina Sofía and to thank Laura Barreca,

who facilitated the access to their important re-

search on the detection of the needs and prob-

lems that the preservation of digital art poses.

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http://www.artificial.dk/articles/artgamesintro.htm

http://www.artificial.dk/articles/artgamesintro.htm

LINO GARCÍAProfessorContact: [email protected]

Lino García has an engineering degree by the In-stituto Superior Politécnico “José A. Echevarría” (ISPJAE), a Master in Communication Systems and Networks by Universidad Politécnica de Madrid and a PhD by the same university. He has been teaching at different universities since 1992. He is now Professor at the Universidad Europea de Madrid (UEM), at Escuela Superior Politécnica (ESP) and Escuela Superior de Arte y Arquitectura (ESAYA). Currently, he is the leader of a transdis-ciplinar research group on the intersection be-tween art, technology and society. He is also a published author, musician and composer. Since 2007 he is the director of the Master in Arquitec-tonical and Environmemtal Acoustics. In 2008 hepublished his first novel ISLAS, published by ABE-CEDARIO and he received a prize in the Jornadas Internacionales de Innovación Universitaria for his work Metodología para proyectos transdis-ciplinares.

PILAR MONTERO VILARProfessor

Pilar Montero Vilar graduated in Fine Arts, Paint-ings and Conservation specialty, at Universidad Complutense de Madrid (UCM) after which she pursued a Master in Aesthetic and Arts’ Theory at Universidad Autónoma de Madrid (UAM), and a PhD in Fine Arts from UCM. She was teaching Theory and Practice for the Master in Contem-porary Fine Arts from UCM (2002-2007) and she is currently a Professor at the Department of Artistic Creation and Theory of Art of ESAYA, UEM, and an Associated Professor of the Paintings De-partment of the Faculty of Fine Arts, UCM. At the moment she leads a research project entitled “Dibujando el Madrid del siglo XXI” (Drawing the XXI-century Madrid) at UEM.


XXe-conservation

CALL FOR SUBMISSIONS

e-conservation magazine is open to submission

of articles on a wide range of relevant topics

for the cultural heritage sector.

Next deadlines for article submission are:

for Issue 15, July 2010 – submissions due 1st

June 2010

for Issue 16, September 2010 – submissions

due 1st August 2010

Nevertheless, you can always submit your

manuscript when it is ready. Between the

receival of the manuscript until the final

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according with:

- the number of the manuscripts on hold,

submitted earlier by other authors

- the release date of the upcoming issue

- the pre-allocated space in the magazine

to each section

Please check our publication guidelines

for more information.

http://www.e-conservationline.com/content/view/28/113/

Documents

The challenges of Digital Art Preservation