通过保护视频艺术实现文化可持续性:开放发行平台

IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY
Paula Fernández Valdés
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引用次数: 0

摘要

自20世纪70年代初以来,视频艺术在文化遗产中赢得了一席之地,特别是作为一种激进主义实践的媒介,它现在是博物馆中收藏和展出最多的艺术类型之一。使用影像艺术作为一种社会抗议和反思的手段,在今天继续产生相关的艺术作品,构成我们集体记忆的一部分,需要为未来而保护,因为它们是边缘集体和替代生活方式的宝贵表达手段。在这方面,保护文化遗产是所谓的文化可持续性的一部分:可持续发展的重要组成部分,它指的是确保后代能够接触到过去和现在的艺术实践的必要性。以下研究反映了文化可持续性对文化机构和博物馆的意义,以及可获得性如何成为保护受到技术过时威胁的视频艺术品的基础。具体地说,单通道视频从保管员的角度进行了检查,并对其过时和可复制性进行了一些道德考虑。随后,在“扩散等于保护”的理念下,提出了一些利用互联网作为全球视频艺术传播环境的机构倡议;在开放分发和合理使用的信念下,版权问题也被审查。视频艺术的未来是什么?如何确保文化的可持续发展?博物馆是否有可能平衡私人和公共利益?本文对这些问题进行了反思,并试图在开放获取保存的基础上给出一些答案。关键词:录像艺术,行动主义,保护,文化可持续性,获取
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Achieving cultural sustainability through the preservation of video art: open distribution platforms
Video art has earned its spot within cultural heritage since the beginning of the 1970s, especially as a medium for activist practices, and it is now one of the most collected and exhibited artistic typologies in museums. The use of video art as a means of social protest and reflection continues to produce relevant artworks in the present day that constitute a part of our collective memory and that need to be safeguarded for the future, since they act as a valuable means of expression for marginal collectives and alternative ways of living. In this regard, the preservation of cultural heritage is a part of what has been called cultural sustainability: an essential part of sustainable development, which refers to the necessity of ensuring the access of future generations to past and current artistic practices. The following research reflects on what cultural sustainability means for cultural institutions and museums, and how availability is fundamental to the preservation of video artworks, endangered by technological obsolescence. Specifically, single-channel video is examined from a conservator’s perspective and some ethical considerations are examined regarding its obsolescence and reproducibility. Subsequently, with the idea that proliferation equals conservation, some institutional initiatives are presented that use the Internet as an environment for video art distribution across the world; the issue of copyright is also examined, under the belief of open distribution and fair use. What does the future of video art hold? How can we ensure sustainable cultural development? And is it possible for museums to balance private and public interests? This article reflects on these questions and tries to provide some answers based on the idea of preservation through open access. Keywords: video art, activism, preservation, cultural sustainability, access
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来源期刊
Artnodes
Artnodes HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.70
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