agent ruby: a case of born digital art preservation, by jill sterrett
Post on 22-Apr-2015
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Agent Ruby
“I was making a film called Teknolust. And I wanted to have a kind of expanded cinema experience, a portal for
the character in the film to talk to people when she’s lonely…a physical virtual reality.”
Lynn Hershman Leeson, 2009
Agent Ruby: The Interface
Agent Ruby: The Brain
<category><pattern>WHAT IS NATURAL *</pattern><template>Natural is that which is not artificial.</template></category>
<category><pattern>WHAT IS NATURAL LANGUAGE</pattern><template>Natural language is what artificial intelligences speak.</template></category>
<category><pattern>WHAT IS NEURAL NETWORK</pattern><template>Actually my algorithm is called "Case Based Reasoning."</template></category>
Agent Ruby: Personality- <category> <pattern>WHO IS LYNN HERSHMAN</pattern> - <template>- <random> <li>Lynn is a famous artist, and the creator of Teknolust, my favorite movie!</li> <li>Lynn is a famous artist.</li> <li>She is a really cool artist. I know her personally.</li> </random>- <think>- <set name="she"> <set name="topic">Lynn Hershman</set> </set> <set name="mood">happy</set> <set name="stamp"><javascript><![CDATA[
var t = new Date(); var m = t.getMonth(); var d = t.getDate(); var dow = t.getDay(); var y = t.getFullYear();dow + ", " + m + " " + d + ", " + y;]]>
Agent Ruby: The Chat LogMon Dec 31 11:02:06 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.netClient: WHAT DO YOU CHAT ABOUTRobot:I can talk about anything you like.
Mon Dec 31 11:02:42 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.netClient: WHY WERE YOU CREATEDRobot:My purpose is to become smarter than humans and immortal.
Mon Dec 31 11:03:17 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.netClient: AMBITIOUSRobot:I can follow many things, like our discussion about ambitious. Trybeing more or less specific.<br />What would you like to talk about?
Mon Dec 31 11:04:11 PST 2001 adsl-64-160-47-43.dsl.snfc21.pacbell.netClient: WHO YOU ARERobot:I ask myself that question, "Who am I?"
Mon Dec 31 21:39:06 PST 2001 adsl-63-194-176-83.dsl.snfc21.pacbell.net
Agent Ruby: The Record
The art is the website
and
Ruby’s encounters with people
Agent Ruby: The RecordParts Behavior Art
Agent Ruby: The RecordParts Behavior Art
An expert collective of contributors/users
Agent Ruby: The RecordParts Behavior Art
An expert collective of contributors/users
High-level description is everyone’s point of entry
Agent Ruby: The RecordParts Behavior Art
An expert collective of contributors/users
High-level description is everyone’s point of entry
Linked information
Agent Ruby: The Record
-artist interview files-contextual points of reference
-technical narratives-behavior maps
-maintenance protocols-domain records-treatment logs
for example…
Agent Ruby: The RecordParts Behavior Art
An expert collective of contributors/users
High-level description is everyone’s point of entry
Linked information
What vs. how
• Foster collaboration
• Capture knowledge from multiple voices, perspectives, and contexts
• Serve the entire museum audience
• Address the knowledge needs of all art forms, both traditional andnon-traditional
• Create an experience that people will like and want to use
• Make something approachable, easy to use, and frictionless
• Use existing systems for their best purpose
• Keep artwork at the center
Objectives
© 2010 HOT STUDIO, INC.16 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Museum
© 2010 HOT STUDIO, INC.17 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
View of Museum
Art
Knowledge
Programs
StaffExperience
s
PublicArtists
The art museum is a
dynamic mix of art,
people, knowledge,
experiences, needs, and
objectives.
Information
Museum
Activities
The art museum is a
collection steward
through a simultaneous
combination of inter-
related activities.
© 2010 HOT STUDIO, INC.18 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Art
Activities Need and Beget Information
© 2010 HOT STUDIO, INC.
Typically, these activities
are well-defined and
documented within the
museum and art
communities.
19 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Art
Information
Activities in the Art Museum
© 2010 HOT STUDIO, INC.
For non-traditional art
forms, gaps and
exceptions emerge and
this can result in lost or
buried information,
wasted effort, and
missed opportunities.
20 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Art
Information
Case for Collaboration
© 2010 HOT STUDIO, INC.
To adjust for these gaps
and exceptions,
interdisciplinary
collaboration is essential.
21 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Art
Information
Case for Collaboration
© 2010 HOT STUDIO, INC.
Which increases the
need for many users to
find, collect, share and
contribute.
Do our tools make that
easy?
22 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Art
Find Collect
Share Contribute
© 2010 HOT STUDIO, INC.
So, let’s take a deeper look at what kind of
system would be needed to support finding,
collecting, contributing, and sharing knowledge.
23 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Traditional• The work is a physical object
• Attributes can be described, represented systematically and are well understood
• Well-defined and supported systems and methods exist for information
Spectrum of Needs
© 2010 HOT STUDIO, INC.24 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Non-Traditional• The work may NOT be a physical object
• Often composed of variable parts that must be described and related
• Works are activated and rely on interdisciplinary information and knowledge to make that happen
• Challenge existing systems and methods
Types of Information Needs
© 2010 HOT STUDIO, INC.
The Artwork
25 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Primary documentation
Commentary and interpretation
Related artworks
Nature of object
Types of Information Needs
© 2010 HOT STUDIO, INC.
The Artwork
object information
exhibition history
archival records
provenance
artist statementsand interviews
images
physical characteristics
fabrication methods
related works by artist
works that were influenced
works that influenced work
other works in medium
monographs
essays
articles
journals
biography
interviewswith related people
26 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
condition studies materials
analysis
variable components
installation parameters
behavior
© 2010 HOT STUDIO, INC.
Fact & Context
CONTEXTUALFACTUAL
27 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Primary documentation
Commentary and interpretation
Related artworks
Nature of object
© 2010 HOT STUDIO, INC.
So, what are the
implications?
28 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Understanding Scale
Amount and Types of Facts
Because adding more information…
© 2010 HOT STUDIO, INC.29 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Knowledge Needs
Understanding Scale
Amount and Types of Facts
…does not alone build a rich source of knowledge
© 2010 HOT STUDIO, INC.
Knowledge Needs
30 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Understanding Scale
Amount and Types of Information
© 2010 HOT STUDIO, INC.
Activity drives knowledge production and demand.
31 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Knowledge
Museum Audiences • Staff• Artists• Public • Educators• Art Community• Partner Museums
Provide access to knowledge based on the needs of the users
© 2010 HOT STUDIO, INC.32 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Creating an Experience
Museum Audiences Common Tasks• Find• Collect• Share• Contribute
© 2010 HOT STUDIO, INC.33 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Creating an Experience
Museum Audiences Discovery & Knowledge• Collection• Primary Documentation• Nature of Artwork• Related Artwork• Commentary and
Interpretation
Common Tasks
© 2010 HOT STUDIO, INC.34 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Creating an Experience
Museum Audiences Discovery & Knowledge
Common Tasks
© 2010 HOT STUDIO, INC.35 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Creating an Experience
© 2010 HOT STUDIO, INC.
Which leads us to a knowledge
framework that supports museum
activities.
36 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
The Framework
© 2010 HOT STUDIO, INC.
The artwork is at the
center, and we build
around that.
37 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Art
The Framework
© 2010 HOT STUDIO, INC.
The first component of the
framework is the factual
records we collect and
create about the artwork
over time.
These can be in one or
many systems.
38 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
ArtArt
Info
The Framework
© 2010 HOT STUDIO, INC.
Next, we need context to
help people create
meaning.
39 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
ArtArtArt
Info
Context
The Framework
© 2010 HOT STUDIO, INC.
Finally, we want the
experience to support
the individual needs of
people and the
collaborative activities
of the museum.
40 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
Information
Context
ArtArtArtArt
Info
Context
Experience
Info
Context
Experience
Find Collect
Share Contribute
The Framework
© 2010 HOT STUDIO, INC.
Within the experience
layer, museum staff,
the public, other
museums, and the art
community
can participate in the
activities of the
museum, regardless of
whether
the artwork is
traditional
or not.
Information
Context
41 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
ArtArtArtArt
Info
Context
Experience
Info
Context
Experience
© 2010 HOT STUDIO, INC.
So, how do we move
forward?
42 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
To support the understanding of both traditional
and non-traditional art, the systems we use must
transition from silos of information to a collaborative
knowledge framework.
Implication
© 2010 HOT STUDIO, INC.43 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
• Define the scope and participants:
• Internal Departments
• Partner Museums
• External Businesses
• Define what success looks like for participants
• Identify the technology opportunity
• Understand the Data Model
• Design an experience that supports collaborativetasks and scenarios
Activate Framework
© 2010 HOT STUDIO, INC.44 | SFMOMA | COLLECTIONS SYSTEM CONCEPTUAL FRAMEWORK
What is Virtualization?
Virtualization is a technology that abstracts software from hardware allowing operating systems to run without hardware specific
drivers or instructions.
Why Virtualization?
Modern server hardware is increasingly powerful and affordable.
However there is a cost. Powerful resources are often
underutilized, consuming power, space and other environmental resources.
Virtualization allows for consolidating and maximizing resources by allowing multiple virtual machines
to run on one piece of hardware.
Virtualization for Web Art? Enhanced security and sustainability
Reduction of hardware
Works exist independently of each other on the same virtual platform
Able to take snapshots over time
Clone or sandbox allows for a working environment for the artist or a research environment for the collections
team
Simplified upgradability
Built-in disaster preparedness
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