There are no hard and fast rules for the exhibition of computer-based art. Artists working with computer technology tend to use hardware and software in a range of unconventional ways, often exploiting bugs and anomalies. As a result, most works and exhibitions need to be considered on a case-by-case basis. Nevertheless, certain guidelines apply. Recommendations outlined here include close communication with the artist or artist's representative, troubleshooting every aspect of the project, including software and hardware, and determining the level of user or audience interactivity. Also included are suggestions for installing, maintaining and deinstalling equipment. Although distinctions between single-channel video, video installation and computer-based arts continue to blur, the interactive attributes of many computer-based installations create unique requirements.

For further information on media elements relating to computer-based artworks, it would be useful to cross-reference the Single-Channel Video and Media Installation sections of this Guide.

Communication with Artist or Artist's Representative

Source Material

Installation

Testing and Maintenance

Documentation

Permissions and Rights

Deinstallation

Communication with Artist or Artist's Representative

It is necessary to have clear lines of communication between the artist (or representative), curator, and technicians regarding specifics of installation and presentation of the work.

Source Material

Gather all elements of the work and instructions as to how these elements relate to one another. Some questions regarding source material are as follows:

• What format is the work? Is it a DVD? A Website? Does it play back from the hard drive? Is it a combination of these things?
• Are there non-digital elements of the work? Sculptural elements? Photographs? Other ephemeral materials?
• Do you have all appropriate software and plug-ins to run the work properly?

Installation

While it may seem obvious, it is important to note that how a work is installed has a tremendous impact on how that work is perceived. This is especially true of interactive works, because by defining the installation parameters, you define how you want the user to interact with and experience the work. They must be developed in conjunction with the artist and in the context of available equipment as, fortunately or unfortunately, available equipment sometimes defines the installation parameters for you. Questions which need be considered are as follows:

Defining the Space

• What are the optimal light levels?
• What are the optimal sound levels?
• Should the work occupy the space alone or can it share a space with another work?

Interactivity

• How should the audience interact with the work? Standing up? Sitting down? Should they be in a private or public space?
• How will the user engage with the work? Using a keyboard and mouse? Touchscreen? Joystick?

Equipment

• Is there dedicated equipment for the works?
• What kind of playback equipment is necessary based on the format of the work?
• What kind of display technology is needed?
• What kind of audio equipment is necessary?
• What cables and adaptors will be necessary? How long do they need to be? And are power and network sources readily available?
• How should the equipment be physically present in the space? On a plinth? On the floor? Hidden from view?

Testing and Maintenance

It is important to remember that once a show is installed the process is not over. Computer-based works, even when properly installed, can be error prone. Some basic precautions can help avoid major technological headaches.

• Give yourself plenty of time to test the system for bugs and errors.
• Hire technicians (full-time, part-time or on-call depending on the run of the show).
• Write step-by-step instructions for start-up and shut-down of all works in the show.
• Gather basic tools for the gallery.

Gallery Tool Kit:

• Wire Strippers
• Mini-Screwdriver Set
• Outlet Tester
• DVM or Continuity Tester
• Voltage pen
• Cable ties
• Soldering kit: soldering iron, solder, sponge
• Side cutters
• Linesman pliers
• Needle nose pliers
• Hemostat
• Flashlight or headlamp (LED)
• Lens cleaning fluid and tissue
• Hex wrenches, Metric and Imperial
• Electrical tape
• Gaffer tape
• Small parts bags (Ziploc)
• Gender Changers: male to male and female to female: VGA, BNC, RCA, XLR
• Adaptors: should have adaptors for both directions: BNC-RCA, DVI-VGA, XLR-RCA, XLR-1/4", RCA-1/4", MINI-1/4"
• Utility knife
• 4-in-1 screwdriver
• Measuring tape
• Torpedo level
• Screwgun
• Adjustable wrench, 4", 6", 8"

Documentation

It is important for the institution, the artist, and future collectors and exhibitors of complex installations to have full documentation of past installations of an artwork. Some forms of documentation to think about are:

• Schematic diagrams of connections (inputs and outputs)
• Photographs of all elements and installations
• Video documentation of the installation and people interacting with it.

Permissions and Rights

Who holds the rights to the media/installation? The artist? A gallery or private collector? Even when a work is freely available on the web, the best practice is to contact the artist before including the work in an exhibition.

Deinstallation

Although the artist need not always be present for the deinstallation of a work, it is important to make sure that you have budgeted (both financially and in terms of time) adequately for a technician to dismantle a work and insure that all components get back to their original owners.