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| Equipment & Technical Issues |
Technical issues raised by the video and computer-based components of installation art are among the most challenging, in part because they are the most unfamiliar. They are also the ones for which the technological landscape is changing most rapidly. Yet as the recommendations below make clear, conservators of installation art can draw on standards and practices developed by video archivists, computer programmers, and others in related fields. Hardware and Display Equipment Video Components Playback Equipment In general, playback equipment-videotape players, DVD players, etc.-is almost never critical to the integrity of a work. The main goal of conserving video art is to make an accurate reproduction of the original video signal accessible in an appropriate manner. But in order to overcome videotape's instability, migration to newer, more stable formats-broadcast tape formats like Digital Betacam or digital files like JPEG2000, for example-is a necessity. The major problem, particularly with media art and independent video, is equipment obsolescence. Early video art was created on formats that are now obsolete, such as 1/2" open reel , the "PortaPak" format used by many pioneering video artists, or 2" quad , the early broadcast format onto which many 1960s and 1970s public television projects were recorded. And many other works exist only on formats like 3/4" U-matic or 1" Type C that, although newer, have quickly become obsolete and for which new decks are no longer being built. Two strategies can help institutions deal with this problem. The first is to take a proactive approach for the future by stockpiling playback equipment for formats that an institution holds. This approach may not always be practical-broadcast equipment like 1" Type C is bulky and difficult to obtain-but for 3/4" U-matic tapes in particular, it may well prove to be valuable. More critical, especially for truly obsolete formats, is to develop a relationship with a trusted vendor that specializes in remastering videotapes and that also understands the specific needs of your institution. Display Equipment Display equipment poses certain problems unique to video art. Television programs were designed to be seen on any and all TV sets, so their preservation does not require any particular attention to display. Much video art, however, was designed with specific monitors in mind-equipment that is just as much a part of the work as the video signal itself. This equipment can range from specific individual monitors that are clearly part of the work-as with the vintage television sets in some of Nam June Paik's installation pieces-to basic, off-the-shelf monitors that merely need to be of certain dimensions. The most critical issue regarding display equipment-one that will only become more problematic in the near future-is the question of cathode ray tube monitors (CRTs ) versus flat-screen monitors. Most video art from the first three decades of the medium was created when the only available monitors were conventional CRTs, whatever size or type. Now, however, LCD and plasma screens are rapidly replacing CRTs in the marketplace, and many manufacturers are no longer producing CRTs at all. Yet many video artworks were created with the specific properties of the CRT in mind and many artists do not believe that flat-screen monitors are acceptable substitutes. Definitive solutions to this emerging problem are not yet clear. Stockpiling of monitors-when feasible-is certainly one solution. Equally critical is the engagement of the artist in dialogue about the work as soon as possible. What are the specific variations from its original state that the artist would consider acceptable? What pieces of equipment are so critical that the work would have to be considered "dead" if they become obsolete? This is only one facet of media art preservation where artist input is absolutely critical to the future well-being of the art itself. Projection Works that are shown by projection rather than on monitors offer challenges of their own. They can be somewhat easier to deal with in the sense that projection equipment is generally meant to be invisible, whereas display monitors are visible to one degree or another. This means that, in theory, an obsolete or non-functioning projector can simply be replaced with an upgraded model without affecting the work. In practice, however, great care must be taken in choosing the new projector. Not only must the original dimensions and aspect ratio of the image be retained, but the visual qualities-contrast, color balance, resolution, etc.-must also be preserved. In this case, both documentation and consultation with the artist are critical, especially if a projector is replacing one that has already failed, rather than proactively replacing the original, against which its image could be compared. Finally, maintenance is vital. Whenever possible, monitors and projectors should be regularly calibrated-checked against standard color bars to ensure an accurate signal-as often as every day while a piece is being shown. Digital Components The complex nature of digital artworks means that the risks posed by equipment are varied and many. These risks can be placed in two broad categories: failure-the inability of a component to continue working-and obsolescence-components that are either no longer available or no longer compatible with current or later software, operating systems, etc. These risks affect the different components of computer-based art in different ways. Failure Storage Media For any digital object, whether it is a database or a work of art, failure of storage media is a particular concern. And unlike videotape and film, when digital media fail, they often fail completely and without visible signs of change. A damaged film or videotape can still be partially shown, but with digital media it is generally an all-or-nothing situation. Much of this risk, however, can be mitigated by careful handling and storage. Keep these points in mind:
Hardware and Display Equipment Because display equipment is the most visible part of a computer-based artwork-often the only visible part-its failure can be catastrophic. Careful planning can help avert this catastrophe, especially through the use of an artists' questionnaire to outline acceptable actions in case of equipment failure. Critical questions to ask include:
Obsolescence Over the past century, numerous motion picture formats have come into use, many of which quickly became obsolete. Analog videotape works have also been created using dozens of now-obsolete formats. Yet these problems pale in comparison to the dizzying array of platforms, software, file formats, and storage media used in the creation of computer-based art. Each component of a digital artwork faces serious risks from obsolescence-risks that can threaten the work almost as soon as it is created. Operating Systems As any user of a personal computer knows, the different operating systems-the underlying programs that control the functions and interaction of hardware, files, and software-can cause problems even for newly created data. These problems only multiply as time passes. Every time a new version of an operating system comes out, it may render earlier versions obsolete. More important, five-year old software may not play on a new operating system; an older operating system may not be usable on a new computer. It is therefore critical to monitor the viability of a digital work at regular intervals, including the testing, where necessary, of its compatibility with newer operating systems. Software As with operating systems, frequent updates to software can cause preservation headaches. Files created using an earlier version of a program will often behave differently or not open at all. Continual monitoring of a work's viability is critical here as well. Whenever possible, detailed records of software versions used in the creation and display of a work should be kept, as should copies of the relevant CD-ROMs or disks, manuals, etc. An additional issue related to obsolescence is the issue of proprietary versus open-source software. Much computer-based art is created using proprietary software. The development of programs like Flash, QuickTime, or Director, is controlled by corporations with little interest in long-term preservation. Altering this software for purposes of preservation is not always possible, and in some cases, may violate copyright laws. Increasingly, however, artists are using open-source software, which allows much greater latitude in this area. Many experts in the field strongly recommend the use of open-source software in preservation work of this kind. Storage Media Obsolescence of storage media is a particular problem for magnetic media. In addition to facing risks from physical degradation, early storage devices such as floppy disks, Bernoulli disks, etc., can become problematic when the necessary drives become rare and difficult to access. Another problem is that the software necessary to operate these drives is often incompatible with later operating systems.
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