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	<title>ARTOBS : Art contemporain &#38; obsolescence technologique</title>
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		<title>Revue d&#8217;histoire de l&#8217;art n° 68 : Art et restauration</title>
		<link>http://obsolescence.hypotheses.org/809</link>
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		<pubDate>Wed, 28 Sep 2011 14:05:33 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
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		<guid isPermaLink="false">http://obsolescence.hypotheses.org/?p=809</guid>
		<description><![CDATA[Dazord Cécile, « “Kunst und Technik, eine neue Einheit – Art et technique, une nouvelle unité” (Martin Gropius, 1923). Art contemporain : l’impensé de la technique. », Revue Histoire de l’art, n° 68, Art et restauration (en cours de publication). Lire le texte : Dazord_RHA_2011]]></description>
			<content:encoded><![CDATA[<p><span style="font-size: large;color: #008080"><strong>Dazord Cécile,</strong> « “Kunst und Technik, eine neue Einheit – Art et technique, une nouvelle unité” (Martin Gropius, 1923). Art contemporain : l’impensé de la technique. », <em>Revue Histoire de l’art</em>, n° 68, Art et restauration (en cours de publication).</span></p>
<p><span style="font-size: medium">Lire le texte :</span> <a href="http://f.hypotheses.org/wp-content/blogs.dir/185/files/2011/09/Dazord_RHA_2011.pdf">Dazord_RHA_2011</a></p>
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		<title>Digital art conservation (colloque II), Strasbourg, Ecole supérieure des arts décoratifs (ESAD)</title>
		<link>http://obsolescence.hypotheses.org/802</link>
		<comments>http://obsolescence.hypotheses.org/802#comments</comments>
		<pubDate>Wed, 28 Sep 2011 13:54:06 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
				<category><![CDATA[Communications]]></category>
		<category><![CDATA[Technique et obsolescence]]></category>
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		<category><![CDATA[art contemporain]]></category>
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		<description><![CDATA[Annonce : Colloque II, deuxième volet du projet Digital art conservation, aura lieu le 24 et 25 novembre 2011 à l&#8217;Ecole supérieure des arts décoratifs de Strasbourg, 1, rue de l&#8217;Académie, 67000 Strasbourg. Entrée gratuite. &#160; Rappel : Digital art conservation Le projet Digital art conservation se consacre dans un premier temps à documenter et à constituer un inventaire des collections d’art numérique du Rhin supérieur. En deuxième lieu, fort de la longue expérience des partenaires dans le domaine de la préservation et de [...]]]></description>
			<content:encoded><![CDATA[<p><span style="text-decoration: underline"><span style="color: #008080;font-size: large;text-decoration: underline"><strong>Annonce :</strong></span></span></p>
<p><span style="text-decoration: underline"><span style="color: #008080;font-size: large;text-decoration: underline"><strong>Colloque II,</strong></span></span><strong><span style="text-decoration: underline"><span style="color: #008080;font-size: large;text-decoration: underline"> deuxième volet du projet Digital art conservation, aura lieu le 24 et 25 novembre 2011 à l&#8217;Ecole supérieure des arts décoratifs de Strasbourg, 1, rue de l&#8217;Académie, 67000 Strasbourg. Entrée gratuite.</span></span><br />
</strong></p>
<p>&nbsp;</p>
<p><span style="text-decoration: underline"><span style="font-size: large;color: #000000;text-decoration: underline"><strong>Rappel :</strong></span></span></p>
<p><span style="text-decoration: underline"><span style="font-size: large;color: #000000;text-decoration: underline"><strong>Digital art conservation</strong></span></span></p>
<blockquote><p><span style="color: #000000;font-size: large">Le projet <strong>Digital art conservation</strong> se consacre dans un premier temps à documenter et à constituer un inventaire des collections d’art numérique du Rhin supérieur. En deuxième lieu, fort de la longue expérience des partenaires dans le domaine de la préservation et de la présentation de l’art numérique, il concourt au débat international dans ce nouveau domaine de la conservation. </span></p>
<p><span style="color: #000000;font-size: large"> Le projet s’étend sur une période allant de janvier 2010 à décembre 2012 et il est cofinancé par le programme européen INTERREG IV Rhin supérieur.</span></p>
<p><span style="font-size: medium">Le projet <strong>digital art conservation</strong>est né de la volonté d’exploiter l’expérience en matière de conservation d’art numérique acquise dans la région du Rhin supérieur et de la partager au niveau régional, tout en constituant aussi la base d’une contribution au débat international sur la conservation de l’art numérique. Ce projet de trois ans est cofinancé par le programme européen INTERREG IV Rhin supérieur.</span></p>
<p><span style="font-size: medium">Grâce à des institutions telles que le <a href="http://www.zkm.de/">ZKM | Centre d’Art et de Technologie des Médias Karlsruhe</a>, <a href="http://www.haus-ek.org/" target="_blank">Haus für Elektronische Künste</a> de Bâle et <a href="http://www.cg90.fr/partageonsnospassionsdansleTerritoire/Espace-Multimedia-Gantner">l’Espace Multimédia Gantner</a> à Bourogne en Franche-Comté, qui se consacrent presque exclusivement aux nouveaux médias, de même qu’à des collections publiques et privées importantes établies dans le Bade-Wurtemberg, en Alsace et dans la Regio Balisensis (grande région de Bâle), la région du Rhin supérieur jouit d’une richesse unique en matière d’art numérique. Qui plus est, du fait de programmes généreux pour les artistes résidents au ZKM | Centre d’Art et de Technologie des Médias et de grands festivals tels que <a href="http://www.ososphere.org/2009/">Ososphère</a> à Strasbourg ou <a href="http://www.shiftfestival.ch/">Shift</a> à Bâle, la région est devenue un haut lieu de production d’art numérique.</span></p>
<p><span style="font-size: medium">L’objectif de la première phase du projet est de répertorier les collections d’art numérique de la région et d’établir des liens plus solides entre les acteurs locaux dans la production, la gestion et la conservation de l’art numérique. Au cours de la deuxième phase, <strong>digital art conservation </strong>s’est fixé pour objectif de contribuer au débat international sur la conservation de l’art numérique en s’appuyant sur son éminent corpus et sur le fait que les institutions susnommées sont confrontées quotidiennement à la préservation et à la présentation d’œuvres d’art numérique.</span></p>
<p><span style="font-size: medium">Les débats récents dans ce domaine (cf. les contributions de variable media network, IMAP, DOCAM et PACKED entre autres) ont engendré l’énonciation d’un nouveau cadre théorique ainsi que de nouvelles méthodes de conservation. Ce débat s’articule autour de la thèse qui prévaut jusque-là et qui induit qu’un point de départ conceptuel et les effets physiques de l’art numérique définissait cet art et non pas ses composantes matérielles originelles. Par le biais d’études de cas de conservation, de deux conférences d’experts internationales, d’une exposition itinérante et d’une publication spécialisée, <strong>digital art conservation</strong> poursuivra la discussion à l’échelle internationale en se concentrant sur la question de l’éthique.</span></p>
<p><span style="font-size: medium">La participation de <a href="http://www.esad-stg.org/">l’École supérieure des arts décoratifs de Strasbourg</a> et de <a href="http://www.hkb.bfh.ch/">la Haute école des arts de Berne</a> constitue le pôle enseignement du projet. Des ateliers suivront des études de cas de restauration et en parallèle du projet, les deux instituts supérieurs des arts esquisseront ensemble la trame d’un master européen pour la conservation d’art numérique.</span></p></blockquote>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p><span style="text-decoration: underline"><strong><span style="font-size: large">Rappel:</span></strong></span></p>
<p><span style="text-decoration: underline"><strong><span style="font-size: large">Colloque I, premier volet du projet Digital art conservation, s&#8217;est tenu au ZKM à Karlsruhe les 4 et 5 novembre 2010.</span></strong></span></p>
<blockquote><p><span style="font-size: medium">«As part of the broader research project <strong>Digital art conservation</strong> this international symposium aims to investigate the future of our digital cultural memory, focusing in particular on the preservation of computer-based art.</span></p>
<p><span style="font-size: medium">For millennia, transmission systems with long-term stability shaped our sense of time and of history, helping form our image of ourselves and of the world. The ever-present threat to cultural heritage from external factors &#8211; whether war, deliberate destruction or processes of natural decomposition &#8211; meant that cultural memory was arranged with longevity and reliability in mind</span></p>
<p><span style="font-size: medium">For a couple of decades now, digitalisation has allowed the content of cultural memory to be more easily processed and circulated; via the internet electronic/digital material is in principle available to any user in any location at any time. However, the preservation of digital contents is fundamentally conditioned by the need to conform to an ever more rapid sequence of new technical systems. This functional obsolescence, along with technical systems&#8217; dependence on corporate strategies and commercial interests, presents a systemic threat to digital cultural memory. Again and again, the threat of obsolescence leads previous criteria of cultural memory &#8211; longevity and authenticity &#8211; ad absurdum.</span></p>
<p><span style="font-size: medium">In this way, the digital revolution has called into question the very preservation and survival of cultural memory. However, until now there has been almost no reflection on the far-reaching consequences of this systemic change in cultural memory. But we may ask: what fundamental underlying values can a society have, which merely disposes of an event-oriented short-term memory?</span></p>
<p><span style="font-size: medium">Blinded by the promises of prosperity deriving from the IT and entertainment industries, governments have thus far failed to develop strategies for safeguarding humanity&#8217;s digital cultural memory. As long ago as 2003, the UNESCO Charter on the Preservation of the Digital Heritage noted that &#8220;The world&#8217;s digital heritage is at risk of being lost to posterity. [ ... ] Digital evolution has been too rapid and costly for governments and institutions to develop timely and informed preservation strategies. The threat to the economic, social, intellectual and cultural potential of the heritage &#8211; the building blocks of the future &#8211; has not been fully grasped. &#8220;</span></p>
<p><span style="font-size: medium">The practice and theory of art collecting and preservation has also seen a paradigm shift, presenting curators, collectors, scholars and conservators with a new set of as yet unsolved problems. Whereas traditional media and tools remained in the possession of artists and curators, new digital media have definitely reduced the autonomy of these cultural actors. It is not, as it is often claimed, that digital media art itself ages more quickly than traditional art forms. Rather, often after only a few years, the elements needed for artworks&#8217; preservation and exhibition &#8211; hardware and software, operating systems and programming knowledge &#8211; are no longer available.</span></p>
<p><span style="font-size: medium">For digital media art this means that the faster technology develops, the shorter the half-life period of the artwork becomes. Dealing with digital artworks today, we have to expect major preservation threats to set in already within ten years of their creation.</span></p>
<p><span style="font-size: medium">One approach to this problem of digital preservation is to investigate the relation of the material to the conceptual substance of the work. Here it seems that desperate pragmatism of repairing and stockpiling of obsolete technologies will quickly run dry. A second approach accepts the transience of the artwork as irrevocable, taking for granted the work&#8217;s short-term nature as linked to a performative practice understood to be inherent to the <em>time-based arts</em>.</span></p>
<p><span style="font-size: medium">Parallel to day-to-day collecting and exhibition practice &#8211; necessarily pragmatic &#8211; conservation theory has recently seen a normative debate on the ethics of preservation, a discussion comparable to developments elsewhere in the humanities and natural sciences, as well as in bioethics and environmental ethics. The conference&#8217;s discussion of the ethics of conservation aims to overcome the current uncertainty surrounding the preservation of digital media art as part of our cultural heritage.</span></p>
<p><span style="font-size: medium">This set of interconnected themes forms the context for the questions posed by the first international symposium of <strong>digital art conservation</strong>, a three-year research project funded by the European Union.</span></p>
<p>&nbsp;</p>
<ul>
<li><span style="font-size: medium">With general digitalisation rapidly moving from dream to reality, it is clear that all future generations will depend on computer networks as the most important and perhaps the only remaining loci of cultural memory. In addition to the constant danger of large-scale data-loss, there is also the associated risk that data may be undetectably filtered and manipulated, making it impossible to establish authenticity.</span></li>
<li><span style="font-size: medium">The high cost of long-term conservation or even the restoration of stored digital data far surpasses the limited budgets of libraries, archives, museums and other cultural institutions.</span></li>
<li><span style="font-size: medium">The promise offered by every new digital storage medium &#8211; ever larger capacity &#8211; has misled to the taking of greater risks. However, the major assurance of ever greater data security has not been delivered until today. In the last two decades our absolute dependence on digital media has become so taken for granted that to call it into question is often decried as “unscientific” or “pessimistic”.</span></li>
<li><span style="font-size: medium">Large quantities and varieties of digital data bring with them an ever-increasing need for care and administration. This demands a high level of reliance in the professionalism and absolute independence of administrators, a trust which must extend across generations and political regimes of any kind. Given recent experience, it is hard to be at all optimistic about this.</span></li>
<li><span style="font-size: medium">Therefore we must ask questions on a global scale. We must ask which institutions, in a variety of national, governmental and commercial contexts, make decisions about the very contents of cultural memory which are to be digitised. Who and how do we decide on questions of selection, storage-worthiness, handling, research and access?</span></li>
<li><span style="font-size: medium">What consequences will the ongoing systemic change of cultural memory have for our consciousness of time and of history, and for our image of ourselves and the world?</span></li>
<li><span style="font-size: medium">Are traditional criteria for conservation &#8211; a work of art&#8217;s originality, longevity and inherent economic value &#8211; at all applicable to new media art? Considering the specific problems of the conservation of computer-based art, which are the conclusions we have to draw about the characteristics traditionally ascribed to the nature of the artwork?</span></li>
<li><span style="font-size: medium">Given the considerable technical difficulties involved, are museums and collections in any position to adhere to the generally high standards in the preservation of digital media art? With increasingly scarce financial resources, can they at all be expected to preserve digital media art?</span></li>
<li><span style="font-size: medium">Should digital media art &#8211; like time-based arts (film, music) &#8211; be regarded as immaterial and ephemeral and is the adequate mode of presentation for it to be at any one time adapted to any particular “performance situation”.</span></li>
<li><span style="font-size: medium">What are the requirements of future-proof documentation of the “substance” of digital media art, if we want to preserve knowledge about both concept and material?</span></li>
<li><span style="font-size: medium">Should standards of best practice be developed for the conservation and collection of digital media art? Should minimum standards of conduct and performance be set to which museum professional staff may reasonably aspire at an international level?</span></li>
<li><span style="font-size: medium">Should museums and collections strive for an internationally-recognised convention for the preservation of digital media art, similar to the various ICOMOS Charters (Athens 1931, Venice 1964)?</span></li>
<li><span style="font-size: medium">Does the <em>ICOM Code of Ethics for Museums</em>, as revised by the 2004 ICOM General Assembly in Seoul, apply to the specific problems of digital media art?</span></li>
<li><span style="font-size: medium">Should digital media art fall within the remit of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003)? Is digital media art already protected by the UNESCO Charter on the Preservation of Digital Heritage? These conventions do not in any case directly address specific issues concerning the conservation of digital media art.</span></li>
</ul>
</blockquote>
<p><span style="font-size: medium"><strong>For the complete programme, please click :</strong> <a href="http://www.digitalartconservation.org/DigitalOblivion_WEB.pdf">here</a></span></p>
<p>&nbsp;</p>
<p><span style="font-size: small">Read the conference report» <a href="http://www.digitalartconservation.org/index.php/fr/colloque-i/54-conference-report.html">here</a></span></p>
]]></content:encoded>
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		<title>Fonds audiovisuels et obsolescence – Institut national du patrimoine, Formation permanente (cinéma)</title>
		<link>http://obsolescence.hypotheses.org/778</link>
		<comments>http://obsolescence.hypotheses.org/778#comments</comments>
		<pubDate>Tue, 27 Sep 2011 22:25:29 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
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		<guid isPermaLink="false">http://obsolescence.hypotheses.org/?p=778</guid>
		<description><![CDATA[La gestion des fonds audiovisuels patrimoniaux confrontés à l&#8217;obsolescence technologique A la faveur de l&#8217;absence de limitations en termes de matériaux, procédés et techniques, caractéristiques de l&#8217;art contemporain (à partir des années 1960), des oeuvres, intégrant les technologies de l&#8217;image et du son, sont entrées dans les musées. Fait nouveau, les problèmes ne résident plus seulement dans le vieillissement des matériaux (phénomène physique), qui constitue le coeur de cible de la conservation et de la restauration traditionnelles, mais dans l&#8217;obsolescence technologique des matériels, remplacés [...]]]></description>
			<content:encoded><![CDATA[<p><span style="font-size: large"><strong><span style="color: #008080">La gestion des fonds audiovisuels patrimoniaux confrontés à l&#8217;obsolescence technologique</span></strong></span></p>
<p><span style="font-size: large;color: #008080">A la faveur de l&#8217;absence de limitations en termes de matériaux, procédés et techniques, caractéristiques de l&#8217;art contemporain (à partir des années 1960), des oeuvres, intégrant les technologies de l&#8217;image et du son, sont entrées dans les musées. Fait nouveau, les problèmes ne résident plus seulement dans le vieillissement des matériaux (phénomène physique), qui constitue le coeur de cible de la conservation et de la restauration traditionnelles, mais dans l&#8217;obsolescence technologique des matériels, remplacés par d&#8217;autres présentés comme plus performants (phénomène socio-économique) </span></p>
<p><span style="color: #008080;font-size: large"><span style="color: #000000">• <strong>Conservation-Restauration face à l’obsolescence technologique : nécessité de forger un nouveau paradigme</strong></span> (Cécile Dazord, conservatrice)</span></p>
<p><span style="color: #008080;font-size: large"><span style="color: #000000">• <strong>Film argentique, vidéo analogique et numérisation : présentation de l’ensemble de la chaîne de conservation</strong></span> (Alice Moscoso)</span></p>
<p><span style="color: #008080;font-size: large"><span style="color: #000000">• <strong>Numérisation et dispositifs de visualisation: impacts sur la présevtation des effets visuels</strong></span> (Clotilde Boust)</span></p>
<p><strong><span style="font-size: large;color: #000000">Voir le programme : <a href="http://f.hypotheses.org/wp-content/blogs.dir/185/files/2011/09/Inp-fonds-AV-et-obsolescence-technologique_programme-2011-2.pdf">[Inp] fonds AV et obsolescence technologique_programme 2011-2</a> </span></strong></p>
<p>&nbsp;</p>
<p>&nbsp;</p>
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		<title>Cahiers du Musée des confluences, vol.7: Innovation</title>
		<link>http://obsolescence.hypotheses.org/773</link>
		<comments>http://obsolescence.hypotheses.org/773#comments</comments>
		<pubDate>Tue, 27 Sep 2011 22:10:16 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
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		<description><![CDATA[Publication des Cahiers du Musée des confluences, vol. 7 : Innovation, août 2011 CécileDazord , «Innovation et art contemporain : le spectre du progrès, le fantasme de l&#8217;immatériel, la réalité de la technique. », Cahiers du Musée des confluences, vol. 7 (Innovation), Lyon, été 2011, p. 105-115 &#160; Lire l&#8217;article : Dazord_Article_Confluences_2011  ]]></description>
			<content:encoded><![CDATA[<p><span style="font-size: x-large;color: #008080">Publication des <a href="http://www.museedesconfluences.fr/musee/publications/publications_scientifiques/cahiers_museedesconfluences/"><span style="color: #008080">Cahiers du Musée des confluences</span></a>, vol. 7 : Innovation, août 2011</span></p>
<p><span class="Apple-style-span" style="font-size: x-large;color: #008080"><strong>Cécile<strong>Dazord </strong>, </strong>«Innovation et art contemporain : le spectre du progrès, le fantasme de l&#8217;immatériel, la réalité de la technique. », Cahiers du Musée des confluences, vol. 7 (Innovation), Lyon, été 2011, p. 105-115</span></p>
<p>&nbsp;</p>
<p><span style="font-size: medium"><strong>Lire l&#8217;article</strong> : <a href="http://f.hypotheses.org/wp-content/blogs.dir/185/files/2011/09/Dazord_Article_Confleunces_2011.pdf">Dazord_Article_Confluences_2011</a></span></p>
<p><span class="Apple-style-span" style="font-size: x-large"> </span></p>
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		<title>Colorimetric Characterization of a Positive Film Scanner Using an Extremely Reduced Training Data Set</title>
		<link>http://obsolescence.hypotheses.org/819</link>
		<comments>http://obsolescence.hypotheses.org/819#comments</comments>
		<pubDate>Sat, 17 Sep 2011 07:36:50 +0000</pubDate>
		<dc:creator>Clotilde Boust</dc:creator>
				<category><![CDATA[Communications]]></category>
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		<description><![CDATA[Colorimetric Characterization of a Positive Film Scanner Using an Extremely Reduced Training Data Set Jean-Baptiste Thomas; University of Bourgogne; LE2I; Dijon, France Clotilde Boust; C2RMF; Paris, France Abstract In this work, we address the problem of having an accurate colorimetric characterization of a scanner for traditional posi- tive film in order to guarantee the accuracy of the color informa- tion during the digitization of a movie. The scanning of a posi- tive film is not an usual task, however it can happen for cultural heritage [...]]]></description>
			<content:encoded><![CDATA[<p><strong><img class="alignleft" src="http://f.hypotheses.org/wp-content/blogs.dir/185/files/2011/09/image-error1.jpg" alt="" width="251" height="213" />Colorimetric Characterization of a Positive Film Scanner Using an Extremely Reduced Training Data Set</strong><br />
Jean-Baptiste Thomas; University of Bourgogne; LE2I; Dijon, France Clotilde Boust; C2RMF; Paris, France</p>
<p><strong>Abstract</strong><br />
In this work, we address the problem of having an accurate colorimetric characterization of a scanner for traditional posi- tive film in order to guarantee the accuracy of the color informa- tion during the digitization of a movie. The scanning of a posi- tive film is not an usual task, however it can happen for cultural heritage purpose. Art-movies, are often created and stored as positive-film in museums. One of the problems one can face for a colorimetric characterization is to have a reasonable number of measurements from an item. In this work we succeeded in having a reasonable accuracy with just a few number of measurement (typically 4 to 7 ∆Ea∗b units with 2 to less than 10 measurements).</p>
<p>Lire l&#8217;article : <a href="http://f.hypotheses.org/wp-content/blogs.dir/185/files/2011/10/boust-CIC2011-okok1.pdf">boust-CIC2011</a></p>
<p>In Color Imaging conference, San José, November 2011 : <a href="http://www.imaging.org/IST/conferences/cic/index.cfm" target="_blank">http://www.imaging.org/IST/conferences/cic/index.cfm</a></p>
<p>&nbsp;</p>
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		<title>Laboratorio Camera ottica, Gorizia</title>
		<link>http://obsolescence.hypotheses.org/876</link>
		<comments>http://obsolescence.hypotheses.org/876#comments</comments>
		<pubDate>Sun, 10 Apr 2011 09:52:39 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
				<category><![CDATA[Films et numérisations]]></category>
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		<description><![CDATA[Laboratori di cinema Università degli studi di Udine &#8211; DAMS Gorizia (Discipline delle Arti della Musica e dello Spettacolo) &#160; Le Département des arts, de la musique et du spectacle de l&#8217;Université de Udine/Gorizia a pour particularité d&#8217;être focalisé sur la conservation et la restauration. Dans ce contexte, un laboratoire de conservation et de restauration de films et vidéos a vu le jour : la Camera ottica, spécialisé notamment dans le traitement du son cinématographique, des formats réduits, du cinéma expérimental et de l&#8217;art [...]]]></description>
			<content:encoded><![CDATA[<h1><span style="color: #008080">Laboratori di cinema</span></h1>
<h1><span style="color: #008080">Università degli studi di Udine &#8211; DAMS Gorizia</span></h1>
<h1>(Discipline delle Arti della Musica e dello Spettacolo)</h1>
<p>&nbsp;</p>
<p><strong><span style="font-size: medium">Le Département des arts, de la musique et du spectacle de l&#8217;Université de Udine/Gorizia a pour particularité d&#8217;être focalisé sur la conservation et la restauration.</span></strong></p>
<p><strong><span style="font-size: medium">Dans ce contexte, un laboratoire de conservation et de restauration de films et vidéos a vu le jour : la Camera ottica, spécialisé notamment dans le traitement du son cinématographique, des formats réduits, du cinéma expérimental et de l&#8217;art vidéo.</span></strong></p>
<p>&nbsp;</p>
<blockquote>
<h1><span style="color: #008080">Restauro del film</span></h1>
<p>Il laboratorio <em>La Camera Ottica</em> è specializzato nel trattamento del sonoro cinematografico, nei formati ridotti, nel cinema sperimentale e nella video-arte. Il laboratorio è in grado di offire servizi di:</p>
<ul>
<li>supervisione, coordinamento e collaborazione per progetti di restauro filmico nella loro totalità.</li>
<li>supervisione e coordinamento e collaborazione per progetti di ricerca nel campo della filologia, nella metodologia e nella teoria del restauro cinematografico.</li>
<li>Ricerca e analisi della documentazione associata ai progetti di restauro.</li>
<li>Identificazione, analisi dei materiali filmici e definizione delle scelte tecniche e metodologiche per la conservazione e il restauro.</li>
<li>Interventi di preservazione e restauro analogico e digitale dell’immagine cinematografica (35mm, 16mm, 9,5mm, s8mm, 8mm).</li>
<li>Restauro tecnico, pulizia manuale e semi-automatica, preparazione alla duplicazione.</li>
<li>Telecinema e scansione SD/HD 8, s8, 9.5.</li>
<li>Telecinema 16/35mm</li>
<li>Digitalizzazione, analisi e restauro sonoro cinematografico (8, s8, 16, 17.5, 35) su hardware e software specializzato (Sondor Oma-e, Protools HD, Sonic)</li>
<li>Restauro digitale SD/HD/2K.</li>
<li>Edizioni digitali off-line e on-line SD-HD.</li>
<li>Storage Digitale.</li>
<li>Produzione copie d’accesso (Digibeta, Betacam, DVcam, DVD, etc)</li>
<li>Revisione e monitoraggio collezioni.</li>
<li>Digitalizzazione, restauro, copie d’accesso nastri magnetici (½”, ¾”, 1”)</li>
</ul>
<h1></h1>
<h1><span style="color: #008080"><strong>Edizioni digitali</strong></span></h1>
<p>I laboratori offrono servizi di progettazione, scansione, pulizia e restauro digitale, ricerca e digitalizzazione della documentazione e degli extra associati, authoring, di edizioni digitali on-line e su supporti home di opere appartenenti al patrimonio cinematografico e audiovisivo. Il laboratorio La Camera Ottica è impegnato in un progetto teorico e pratico di realizzazione di Edizioni Critiche per film.</p>
<p>&nbsp;</p>
<h1><span style="color: #008080">Formati ridotti</span></h1>
<p>I laboratori offrono servizi di pulizia, ripristino meccanico, telecinema e restauro digitale dei formati 17,5mm, 9,5mm, 8mm e Super8, per fornire nuove copie di accesso digitali alle famiglie, archivi od istituzioni che ne faranno richiesta, ed attiverà il contatto con l’archivio nazionale del film di famiglia (Home Movies, Bologna – Link) per chi volesse depositare negli appositi locali climatizzati o donare all’archivio il proprio patrimonio di film familiari.<br />
In collaborazione con i tecnici di Home Movies, La Camera ottica ha sviluppato una tecnologia innovativa per la digitalizzazione del formato 9,5 Pathé Baby e dell’8mm/Super8, e sta implementando la ricerca verso le nuove tecniche di restauro digitale, per restituire alla loro aurale  bellezza il patrimonio filmico italiano a passo ridotto.</p>
<p>In collaborazione con l’Archivio Nazionale del Film di Famiglia (Home Movies, Bologna), che da anni lavora per conservare, catalogare e mostrare l’immenso patrimonio italiano dei fondi familiari a passo ridotto (8mm, Super8, 9,5 Pathé Baby, 16mm), il laboratorio La Camera Ottica ha intrapreso un percorso di approfondimento delle tecniche di conservazione, preservazione, archiviazione, digitalizzazione e restauro dei film amatoriali e di famiglia, con cicli di lezioni e seminari coadiuvati dai tecnici e dagli archivisti di Home Movies. Il progetto di sviluppo e sostegno di questo settore mira da una parte ad un profondo ripensamento del ruolo del film di famiglia ed amatoriale all’interno del patrimonio filmico italiano, e dall’altra all’affinamento di tecniche e teorie che intersechino il restauro d’arte, la filologia del cinema con una visione degerarchizzata del patrimonio visivo “autoprodotto”.</p>
<p>L’immenso valore storico, sociologico ed estetico di questi film, dimenticati dalle cineteche italiane e dagli archivi storici, e pressoché scomparsi dopo l’esplosione del video e del digitale, vede il nostro laboratorio in prima linea nella ricerca di metodologie di restauro e digitalizzazione innovative, sviluppate a partire da anni di ricerca ed esperienza nella teoria e pratica del restauro cinematografico. La raccolta, la pulizia, il ripristino meccanico delle copie, l’archiviazione e la creazione di un archivio con copie di accesso digitali degli stessi film rende la collaborazione fra le due istituzioni una delle esperienze italiane più innovative in questo campo di salvaguardia del patrimonio storico italiano.</p>
<p>Ad oggi, i lavori intrapresi sono diversi. In particolare citiamo il restauro del fondo della famiglia circense Togni, trovato in condizioni disastrose e donato all’archivio dalla famiglia. Il recupero pressoché totale del fondo e l’ottimo risultato conseguito ha permesso al laboratorio di partecipare al Festival Internazionale del cinema giovani di Torino, con una prima selezione di materiali, musicata dal vivo. Il laboratorio, insieme all’archivio Home Movies e ad altri partners, si occupa personalmente dell’allestimento e della circolazione delle opere, lavorando in costante sinergia con festival nazionali ed internazionali, con gallerie d’arte, musei, televisioni.</p>
<p>&nbsp;</p>
<h1><span style="color: #008080">Preservazione videotape</span></h1>
<p>I laboratori offrono servizi di identicazione, analisi dello stato fisico-chimico, catalogazione, archiviazione, digitalizzazione, restauro e valorizzazione di singole opere o fondi prodotti e conservati su <strong>supporti video (1/2”, ¾”, 1”)</strong> con particolare interesse e specializzazione nei confronti della <strong>videoarte</strong>.<br />
<span style="font-size: medium"><strong>Site web : </strong></span><a href="http://labcinema.uniud.it/servizi/settori.htm">http://labcinema.uniud.it/servizi/settori.htm</a></p></blockquote>
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		<title>Film forum/Spring school, Udine/Gorizia, 5-14 avril 2011</title>
		<link>http://obsolescence.hypotheses.org/845</link>
		<comments>http://obsolescence.hypotheses.org/845#comments</comments>
		<pubDate>Sat, 09 Apr 2011 08:44:57 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
				<category><![CDATA[Communications]]></category>
		<category><![CDATA[Films et numérisation]]></category>
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		<description><![CDATA[L&#8217;édition 2011 du Colloque international de cinéma et de l&#8217;Ecole de printemps organisés conjointement par l&#8217;Université de Udine et de Paris III (départements cinéma) avait pour thème : L&#8217;ARCHIVE. La conservation, la restauration et la numérisation des fonds confrontés à l&#8217;obsolescence se sont ainsi trouvé au premier plan des sujets abordés.  La nécessité d&#8217;élaborer un paradigme de conservation-restauration adapté au film est apparue très nettement – le paradigme issu des beaux arts s&#8217;avérant inapproprié et inopérant. L&#8217;importance de développer une réflexion concertée et une expertise sur [...]]]></description>
			<content:encoded><![CDATA[<p><span style="font-size: large;color: #008080"><strong>L&#8217;édition 2011 du Colloque international de cinéma et de l&#8217;Ecole de printemps organisés conjointement par l&#8217;Université de Udine et de Paris III (départements cinéma) avait pour thème : L&#8217;ARCHIVE. </strong></span></p>
<p><span style="font-size: large;color: #008080"><strong>La conservation, la restauration et la numérisation des fonds confrontés à l&#8217;obsolescence se sont ainsi trouvé au premier </strong></span><span class="Apple-style-span" style="color: #008080;font-size: large"><strong>plan des sujets abordés. </strong></span></p>
<p><span style="font-size: medium">La nécessité d&#8217;élaborer un paradigme de conservation-restauration adapté au film est apparue très nettement – le paradigme issu des beaux arts s&#8217;avérant inapproprié et inopérant. L&#8217;importance de développer une réflexion concertée et une expertise sur les numérisations opérées dans les collections patrimoniales constitue également une priorité.</span></p>
<p><strong>Une intervention a été présentée le 8 avril à l&#8217;Ecole de Printemps par Cécile Dazord :</strong></p>
<p><strong>Film digitization : The problematics of conserving visual effetcs</strong><em></em></p>
<p><em> </em><span style="text-decoration: underline">Cecile Dazord</span>, Clotilde Boust &#8211; Centre de recherche et de restauration des Musées de France (C2RMF)</p>
<p>Since 2006, the French Museum Conservation and Research Center (Ministry of Culture) is working on the phenomena of technological obsolescence. The purpose of this program is to study the impacts of technological evolutions on contemporary art and its preservation. Since the late 1960s, an increasing number of art works consist of still or moving images, many of which are now conserved on obsolete devices and formats. Consequently, it is always more difficult to present them: their accessibility is threatened, as is their preservation. Faced with this combined obsolescence of media, devices and formats, heads of collections frequently carry out the digitization of repositories for purposes of distribution or preservation. However, a digitization campaign requires specialized skills and, above all, a specific code of practice that is currently unavailable in museum contexts. Art works are unique and non-standard objects. Therefore, methods of mass digitization used in other domains such as television or library archives cannot be directly imported into the field of art. We focused on the digitization of avant-garde and experimental cinema because 16 or 35 mm film is becoming obsolete and because the aesthetics of the images is essential in such films.</p>
<p>Cécile Dazord holds degree in art history and classical studies and is accredited by the Institut national du patrimoine (National institute of curatorial studies). From 2001 to 2005, she was chief curator of the contemporary art collection at the Strasbourg museum of modern and contemporary art. Since 2006, she has been head of the Department of contemporary art at the Research institute of the national museums of France</p>
<p>Clotilde Boust received her engineering degree in photography from the Ecole nationale Louis Lumière, France, in 1998 and a Ph. D. in image quality from Paris IV University in 2004. She is now assistant professor, doing research about color imaging at the Research institute of the national museums of France.</p>
<p>&nbsp;</p>
<p><span style="font-size: large;color: #008080"><strong><strong>XVIII International Film Studies Conference / Convegno Internazionale di Studi sul Cinema</strong><br />
<strong>Udine, April 5 – 7, 2011</strong><br />
<strong>T H E  A R C H I V E</strong><br />
<strong>Memory, cinema, video and the image of the present</strong></strong></span></p>
<p>&nbsp;</p>
<blockquote><p>« It was Jacques Derrida who reminded us that the word archive (Archè) combines the idea of beginning and that of command: the place<br />
where things get started, and where the sources reside, but at the same time the place where the Law arises and where it finds its<br />
dwelling.<br />
In the regime of the image the archive is – in a single concept – the storage of recorded and transmitted images, but also what Jacques<br />
Rancière defines as «the organization of the sensible» (le partage du sensible); that instance which regulates, institutes and organizes<br />
the places and positions of access to the experience of the visual. Nevertheless the archive is not a one-dimensional concept: it is not<br />
only made by objects and concreteness, but also by void spaces, missing elements, silences, which preserve not only the transmittable<br />
history but also the trace of what could have been but was not and nevertheless continues to persist in the present times.<br />
While a widespread tradition always understood history as a vertical narrative that emerges from an origin and is written like a book by<br />
a constituent subject; the archive appears as a radical dishomogeneity, irreducibly paratactic and organized through a vast multiplicity<br />
of elements. It was Michel Foucault who underlined the way in which history is inevitably linked to the question of the constituent<br />
subject, and how archaeology (or genealogical practices) reverse the question and claim that it is the subject itself which is constituted<br />
by a thick network of practices of knowledge and technologies of power that define its conditions of possibility. The archive is not<br />
defined by the staticity of its object, but rather by the lack of its subject.<br />
Addressing the question of the archive does not mean turning our back to the present according to a teleological diachronical<br />
perspective, but on the contrary it would mean to analyze how knowledge and technology that define the range of the contemporary<br />
visuality are in turn defined by a “historical a-priori” (Foucault) in which they find their own conditions of possibility. An “a-priori” is<br />
co-extensive with the present: it is not meant to be searched as an already-given object somewhere in the past, but it is rather something<br />
that needs to be synchronically constructed, connected and organized through a genealogical practice toward the future.<br />
In the past few years many experiences in fine arts, cinema, philosophy etc. have turned their attention towards the concept of the<br />
archive and in general towards practices of the paratactic juxtaposition of elements: as if a new experience of the historical time was<br />
emerging. The digital culture, for instance, along with the new possibilities of organization and recording of knowledge connected to it,<br />
open up new perspectives of construction and access of knowledge based on modularity and a-hierarchical horizontality more than on a<br />
vertical discipline. Or in the field of the visual studies, a renewed attention toward figures like Aby Warburg and Walter Benjamin<br />
testimony an intellectual sensibility focused on the relationship between image, memory and historical time.<br />
We would therefore like to refer to the associations opened up by the concept of the archive in its expanded declination. Archive is the<br />
discursive and yet physical place where dialectical and conflictual negotiations between genealogical practices and dispositifs of power<br />
find their place to be. And where what’s at stake is nothing less than the form and modalities to access the present regime of the visual.<br />
Institutions, knowledge, dispositifs. Which institutions, knowledge, dispositifs of power define and organize the condition of<br />
possibility of the contemporary visual? Which agents, subjects, norms and conditions of access are legitimized or made illegitimate?<br />
<strong>The Digital Archive.</strong> How do the modalities of registration and preservation made possible by the digital turn redefine archival<br />
practices and the organization of knowledge? The pervasive possibility of filming, recording, decoding, archiving – with very low costs<br />
and easily accessible technologies – which kind of relation does it establish with temporality, history and memory?<br />
<strong>Memory, image, historical time.</strong> Are images examples of a recorded and archived past? Are the enormous archives of images an<br />
example of a technological preservation of memory? Or rather does their supposed accuracy and adherence hide blanks spots, silences,<br />
missing elements? What does an image say or does not say? Would it be possible to imagine a politics of images which does not<br />
delegate a testimony but rather takes on the responsibility of doing so to its most extreme consequences?<br />
<strong>Archive and its subject.</strong> How is it possible to make an archive speak? Which is the subject (institution or ideology) that is entitled to<br />
make it speak? Are we a constituent subject (active) of an archive or are we subjected (passive) to it and to the way through which an<br />
archive is shaping the conditions of the possibility of the visual?<br />
<strong> Archive and its traces.</strong> What are the material traces preserved in and by the archive connected to? What is their status? In which way<br />
do cultural artefacts hide and reveal at the same time a complex set of cultures, agents and audiovisual memory? »<br />
<strong></strong></p></blockquote>
<p>&nbsp;</p>
<p><span style="color: #008080;font-size: large"><strong>IX MAGIS – Gorizia International Film Studies Spring School</strong><strong><br />
<strong>Gorizia, April 8 – 13, 2011</strong><br />
<strong>T H E A R C H I V E</strong><br />
<strong>Memory, cinema, video and the image of the present</strong></strong></span></p>
<blockquote><p><strong><br />
</strong>« The IX MAGIS Spring School, organized by the University of Udine and the University of Paris III in collaboration with their network<br />
of partners &#8211; the Universities of Amsterdam, Bochum, Prague, Valencia, Milano-Cattolica, Pisa and CineGraph/Hamburg &#8211; as part of<br />
the activities of the International PhD in Audiovisual Studies, will be held this year in Gorizia, from April 8th to April 11th.<br />
This IX edition of the MAGIS Spring School will focused on the relationship between audiovisual forms and the notion of the<br />
Archive. With the help of scholars, graduate students, artists, curators and representatives of art institutions, the IX Spring School will<br />
try to address in plenary sessions and workshops the main topic of “the Archive” in relation to specific disciplinary fields, objects and<br />
perspectives of research with an emphasis on:<br />
<strong>Cinema &amp; Contemporary Visual Art.</strong> The archive form undoubtedly dominated curatorial and artistic practices of the last decade. On<br />
the one hand it allowed for the adoption of a retrospective point of view toward modernist great points of reference, thereby<br />
reappraising not only their historical importance, but also their utopian aspect and experimental gesture. On the other hand, it freed up<br />
the possibility of assemblage and manipulation of sources (with the digital turn becoming increasingly more accessible) and gave rise<br />
to a different phenomenological experience of reality which modifies the interpretation, recording and organization of data. Sharing the<br />
theoretical framework and perspective suggested by the FilmForum 2011’s call for papers, the Cinema &amp; Contemporary Visual Arts<br />
section aims to investigate the archive form with an analysis of its significance along these two aspects. We will place an emphasis, in<br />
particular, on the relevance of researches and authorial practices of the net, of sound and moving images.<br />
<strong>Archive &amp; Post-Cinema: videogame/animation/comics.</strong> The “archive”, if we understand it as a “database”, could define the new<br />
media landscape. This structure in fact interconnects every single medial experience: videogames; web comics; the “multiverse” of<br />
comics; cell phone applications; contaminations of art, cinema, animation, videogame. We would like to map the presence and<br />
interpretation of the archive in this landscape and open it up specific issues: in which ways do the different medial experiences<br />
organize traces of memory? Which are the bodily and intellectual experiences that include application users, videogamers, web-goers?<br />
What is the role of emulation, retro-technology and preservation? Which are the problems opened up by archiving and preserving<br />
objects that are so strongly connected to contemporary times and to the quick deterioration of supports? Which videogames or medial<br />
objects produce spatial structures which work as a collection of information and knowledge? In which ways does the spatial and<br />
narrative dynamics of game constitute in and of itself a cultural database?<br />
<strong>Cartography of Pornographic Audiovisual.</strong> The Porn Studies Section intends to explore the geographies of audiovisual pornography,<br />
employing a cartographic perspective (cfr. Barker 1996). This perspective accounts for at least two levels of theoretical formalization,<br />
which involve both the diachronic dimension and the synchronic one (cfr. Cregan 2007). The first level deals with the construction of<br />
chronological systems that subtend the “historical space” in which a particular cultural phenomenon develops. The second level deals<br />
with the elaboration of topological systems that subtend the “geographical dynamic” through which that particular cultural<br />
phenomenon appears. By joining the temporal dimension and the spatial one (and vice versa), the cartographic dispositive acquires a<br />
double nature, overlapping the “plain” geographic atlas to the “deep” historic archive (cfr. Buchloh 1999).<br />
<strong>The Film Heritage.</strong> Film Archives emerges as a response to an absence. Film Heritage is primarily about a loss and a trauma, even<br />
before the very act of preserving and taking care of. In the times of contemporary remediation archives are facing a transition<br />
characterized by a new &#8220;absence&#8221; and by a new opening up of practices, bodies, knowledge and dispositifs. Can the study of film<br />
tradition, transmission and preservation reveal models of archival transition and contemporary re-enactment of archives? Which<br />
identities and visual/cultural forms do the laboratorial practices and technologies leave on the bodies of the archives? How do<br />
cosmesis, therapies and obsolescence produced by the digital domain and the digital market generate symptomatical and pathological<br />
archives? What are the paradoxes of an archive that plans itself and that enunciates its own self-sufficiency? In what ways does the<br />
present transition and the dialectic between preservation and access dissimulate and hide the complexity of the notion of the archive? »</p>
<p>&nbsp;</p></blockquote>
<p><span style="font-size: large"><strong>For more information, please contact:</strong><strong><br />
</strong><strong>Dipartimento di Storia e Tutela dei Beni Culturali &#8211; Università degli Studi di Udine, Palazzo Caiselli, Vicolo Florio 2 &#8211; 33100 Udine,</strong><strong><br />
</strong><strong>Italy fax: +39/0432/556644 &#8211; e-mail: gospringschool@gmail.com &#8211; http://filmforum.uniud.it</strong></span><strong></strong></p>
<p>&nbsp;</p>
<p><strong>Consulter le programme</strong> : <a href="http://f.hypotheses.org/wp-content/blogs.dir/185/files/2011/10/ProgramFilmforum2011.pdf">ProgramFilmforum2011</a></p>
<p>&nbsp;</p>
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		<title>Création du groupe INCCA-f</title>
		<link>http://obsolescence.hypotheses.org/484</link>
		<comments>http://obsolescence.hypotheses.org/484#comments</comments>
		<pubDate>Sun, 19 Dec 2010 23:54:17 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Partenaires]]></category>
		<category><![CDATA[Tous les billets]]></category>
		<category><![CDATA[collection]]></category>
		<category><![CDATA[conservateur]]></category>
		<category><![CDATA[conservation]]></category>
		<category><![CDATA[contemporary art]]></category>
		<category><![CDATA[enseignement]]></category>
		<category><![CDATA[formation]]></category>
		<category><![CDATA[imagerie]]></category>
		<category><![CDATA[INCCA]]></category>
		<category><![CDATA[INCCA-f]]></category>
		<category><![CDATA[ingénieur]]></category>
		<category><![CDATA[matériaux]]></category>
		<category><![CDATA[matériaux synthétiques]]></category>
		<category><![CDATA[obsolescence]]></category>
		<category><![CDATA[oeuvres évolutives]]></category>
		<category><![CDATA[oeuvres procédurales]]></category>
		<category><![CDATA[oeuvres processuelles]]></category>
		<category><![CDATA[patrimoine]]></category>
		<category><![CDATA[photographe]]></category>
		<category><![CDATA[physico-chimiste]]></category>
		<category><![CDATA[préservation]]></category>
		<category><![CDATA[recherche]]></category>
		<category><![CDATA[régisseur]]></category>
		<category><![CDATA[restaurateur]]></category>
		<category><![CDATA[restauration]]></category>
		<category><![CDATA[technicien]]></category>
		<category><![CDATA[technique]]></category>

		<guid isPermaLink="false">http://obsolescence.hypotheses.org/?p=484</guid>
		<description><![CDATA[INCCA-f L&#8217;art contemporain est un champ en construction (ou dé-construction) constante dont l&#8217;une des particularités est d&#8217;avoir pulvérisé la répartition en genres et en techniques héritée du système des beaux-arts. Élaborés à partir d&#8217;un mode de catégorisation des œuvres issu des beaux-arts, les principes fondateurs de la conservation et de la restauration sont de facto inopérants pour l&#8217;art contemporain. Paradoxalement, alors que les responsables de collections contemporaines sont quotidiennement confrontés à des problèmes complexes et inédits face auxquels ils sont démunis, la mobilisation des [...]]]></description>
			<content:encoded><![CDATA[<p><span style="color: #008080"><span style="font-size: x-large"><strong><span style="font-size: large">INCCA-</span></strong></span></span><em><span style="color: #008080"><span style="font-size: x-large"><strong><span style="font-size: large">f</span></strong></span></span></em></p>
<p>L&#8217;art contemporain est un champ en construction (ou dé-construction) constante dont l&#8217;une des particularités est d&#8217;avoir pulvérisé la répartition en genres et en techniques héritée du système des beaux-arts. Élaborés à partir d&#8217;un mode de catégorisation des œuvres issu des beaux-arts, les principes fondateurs de la conservation et de la restauration sont <em>de facto</em> inopérants pour l&#8217;art contemporain.</p>
<p>Paradoxalement, alors que les responsables de collections contemporaines sont quotidiennement confrontés à des problèmes complexes et inédits face auxquels ils sont démunis, la mobilisation des institutions françaises demeure faible.</p>
<p>La création de la branche française de l&#8217;INCCA répond à une volonté d&#8217;identifier et fédérer les professionnels concernés par la conservation et la restauration de l&#8217;art contemporain.</p>
<p><span style="font-size: large"><strong>Création d&#8217;INCCA-<em>f</em></strong></span></p>
<p><span style="font-size: large"><strong>Annonce</strong></span></p>
<table width="100%" border="0" cellspacing="0" cellpadding="0" align="center">
<tbody>
<tr>
<td colspan="2" valign="top" width="60%">
<blockquote><p>The french speaking <a href="http://www.incca.org/">INCCA</a> group was created in October 2010, as a result of the <em>Contemporary Art: Who Cares?</em>symposium.The INCCA Steering Committee is very pleased to announce the start of a new group for French speaking professionals. The group will be coordinated from France but hope to include all French speaking professionals who are interested in participating.</p>
<p>Branche francophone de l&#8217;<a href="//www.incca.org/">INCC</a>A, le groupe <a href="http://www.incca.org/incca-france">INCCA-</a><em><a href="http://www.incca.org/incca-france">f</a></em> a été créé en octobre 2010, à la suite du colloque <em>Contemporary Art: Who Cares?</em></p>
<p>INCCA-<em>f </em>est un espace d’identification de professionnels de langue française concernés par la conservation-restauration de l’art contemporain : conservateurs et restaurateurs, attachés et assistants de conservation, artistes, chargés de collection et d’archives, enseignants, étudiants, historiens de l’art, médiateurs, photographes et ingénieurs travaillant sur l’imagerie scientifique, physiciens-chimistes travaillant sur l’étude scientifique des matériaux du patrimoine, régisseurs, techniciens… afin de favoriser l’échange d’informations et d’expériences.</p>
<p><strong>Axes de réflexion</strong></p>
<p>- matériaux nouveaux (notamment les matériaux synthétiques)</p>
<p>- œuvres procédurales, processuelles ou évolutives</p>
<p>- obsolescence technologique</p>
<p>- gestion des collections (établissement de documents normalisés pour les prêts, acquisitions, etc.)</p>
<p>- formation, enseignement, recherche</p></blockquote>
<p><strong>Coordination</strong></p>
<p>Marie-Hélène Breuil</p>
<p>Professeur d’histoire de l’art, Cursus conservation-restauration des œuvres sculptées de l’École supérieure des beaux-arts de Tours</p>
<p>Cécile Dazord</p>
<p>Conservateur du patrimoine, Groupe art contemporain du Département recherche, C2RMF (Centre de recherche et de restauration des Musées de France), Paris</p>
<p><strong>Contact</strong></p>
<p><a href="mailto:groupe.inccaf@gmail.com">groupe.inccaf@gmail.com</a></td>
</tr>
</tbody>
</table>
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		<title>Archimage 2010 Intervention de Fleur Chevalier et Matthieu Dubail</title>
		<link>http://obsolescence.hypotheses.org/838</link>
		<comments>http://obsolescence.hypotheses.org/838#comments</comments>
		<pubDate>Wed, 15 Dec 2010 08:19:48 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
				<category><![CDATA[Communications]]></category>
		<category><![CDATA[Films et numérisation]]></category>
		<category><![CDATA[Tous les billets]]></category>
		<category><![CDATA[analogique]]></category>
		<category><![CDATA[art contemporain]]></category>
		<category><![CDATA[audiovisuel]]></category>
		<category><![CDATA[avant-garde]]></category>
		<category><![CDATA[cinéma]]></category>
		<category><![CDATA[collection]]></category>
		<category><![CDATA[conservateur]]></category>
		<category><![CDATA[conservation]]></category>
		<category><![CDATA[contemporary art]]></category>
		<category><![CDATA[couleur]]></category>
		<category><![CDATA[digital]]></category>
		<category><![CDATA[digitization]]></category>
		<category><![CDATA[experimental]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[heritage]]></category>
		<category><![CDATA[media]]></category>
		<category><![CDATA[medium]]></category>
		<category><![CDATA[migration]]></category>
		<category><![CDATA[movie]]></category>
		<category><![CDATA[numérique]]></category>
		<category><![CDATA[numérisation]]></category>
		<category><![CDATA[obsolescence]]></category>
		<category><![CDATA[patrimoine]]></category>
		<category><![CDATA[préservation]]></category>
		<category><![CDATA[recherche]]></category>
		<category><![CDATA[restaurateur]]></category>
		<category><![CDATA[restauration]]></category>
		<category><![CDATA[restoration]]></category>
		<category><![CDATA[technicien]]></category>
		<category><![CDATA[technique]]></category>
		<category><![CDATA[video]]></category>

		<guid isPermaLink="false">http://obsolescence.hypotheses.org/?p=838</guid>
		<description><![CDATA[ARCHIMAGE 2010 Intervention de Fleur Chevalier et Matthieu Dubail 19 novembre 2010  Compte rendu par Fleur Chevalier &#160; Proposant de faire le point sur la place de l’audiovisuel dans les institutions patrimoniales en réunissant conservateurs, experts ou artistes, la dernière édition d’ARCHIMAGES, « De la création à l’exposition : les impermanences de l’œuvre audiovisuelle », organisée par l’Institut National du Patrimoine et la Bibliothèque Nationale de France, abordait, comme annoncé par son titre, les mutations liées au passage de l’analogique au numérique, et son impact [...]]]></description>
			<content:encoded><![CDATA[<p><span style="font-size: large"><strong><span style="color: #008080">ARCHIMAGE 2010</span></strong></span></p>
<p><span style="font-size: large"><strong><span style="color: #008080">Intervention de Fleur Chevalier et Matthieu Dubail</span></strong></span></p>
<p><span style="font-size: large"><strong><span style="color: #008080">19 novembre 2010</span></strong></span></p>
<p><span style="font-size: large"><strong><span style="color: #008080"> Compte rendu par Fleur Chevalier</span></strong></span></p>
<p>&nbsp;</p>
<blockquote><p>Proposant de faire le point sur la place de l’audiovisuel dans les institutions patrimoniales en réunissant conservateurs, experts ou artistes, la dernière édition d’<em>ARCHIMAGES</em>, « De la création à l’exposition : les impermanences de l’œuvre audiovisuelle », organisée par l’Institut National du Patrimoine et la Bibliothèque Nationale de France, abordait, comme annoncé par son titre, les mutations liées au passage de l’analogique au numérique, et son impact sur la conservation du patrimoine audiovisuel. C’était l’endroit idéal, en somme, pour présenter les recherches du groupe Art Contemporain du C2RMF sur la numérisation des films argentiques. Cécile Dazord et Clotilde Boust étant parties à <strong><a href="../195">l’Eastern Analytical Symposium</a></strong>, nous avons donc pris le relais, avec Matthieu Dubail, pour présenter l’avancée de ces recherches à travers nos contributions respectives au projet.</p>
<p>&nbsp;</p>
<p>Dans le cadre de la matinée consacrée conjointement aux thèmes de la « Conservation » et de la « Collection », notre intervention, intitulée « Obsolescence technologique et art contemporain : étude sur la numérisation des films argentiques », englobait deux axes : le cas du <em>flicker film</em> et le rendu de la couleur. Le but étant de démontrer la complémentarité de nos deux approches théorique et technique sur ces deux facettes du film, largement exploités par les cinéastes d’avant-garde ou <em>underground</em>.</p>
<p>&nbsp;</p>
<p>Le <em>flicker film</em>, en tant que genre ou effet, s’enracine sur le phénomène du papillotement, se rapportant aussi bien à la perception humaine qu’au défilement de la pellicule, ponctué par la fermeture régulière de l’obturateur. Les cinéastes qui développent cette pratique détournent cette mécanique, inhérente au cinématographe. Néanmoins, son histoire est plutôt souterraine, perceptible dans les descriptions faites des films par leurs auteurs ou les historiens. Avant de pouvoir mesurer l’impact des numérisations sur le clignotement, il faut d’abord enquêter sur l’origine et les visées esthétiques du <em>flicker</em>, ainsi que sur ses effets psycho-physiologiques. Ces battements accentués de l’image, en tirant partie de l’oscillation lumineuse du projecteur, génèreraient, entre autres, de nouvelles couleurs, subjectives. D’où l’intérêt de réunir un corpus et d’établir l’histoire multiple d’une pratique qui, semble-t-il, influerait notamment sur notre perception des couleurs.</p>
<p>&nbsp;</p>
<p>Matthieu Dubail, tout en présentant ses investigations techniques sur la couleur a d’ailleurs bien souligné ce fait : la numérisation équivaut à une transformation du film, et ne rime pas forcément avec la sauvegarde de ses effets souhaités sur le spectateur. L’étape de la correction colorimétrique lors de ce transfert ne va pas forcément de soi et pâtie du peu d’outils adaptés à ces demandes spécifiques : son expérience réalisée avec trois étalonneurs différents le prouve. La mesure des couleurs obtenues au final a démontré d’une part, que le résultat s’écarte non seulement beaucoup de l’original mais aussi qu’il variait en fonction des étalonneurs, et, d’autre part, que les couleurs des films ne sont pas toutes reproductibles sur l’écran. La constatation n’est pas vaine toutefois puisque des solutions semblant répondre au problème émergent de l’étude.</p>
<p>&nbsp;</p>
<p>Dans le cadre d’un tel colloque, nos interventions ont rappelé, à juste titre, l’importance de saisir, afin d’en assurer la pérennité, la spécificité du film argentique, tout en l’envisageant dans son dispositif technologique global, à l’heure où il se retrouve abondamment représenté dans les collections audiovisuelles.</p>
<p>&nbsp;</p></blockquote>
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		<title>Archimage 2010 : Programme</title>
		<link>http://obsolescence.hypotheses.org/488</link>
		<comments>http://obsolescence.hypotheses.org/488#comments</comments>
		<pubDate>Sat, 20 Nov 2010 23:57:18 +0000</pubDate>
		<dc:creator>Cécile Dazord</dc:creator>
				<category><![CDATA[Communications]]></category>
		<category><![CDATA[Films et numérisation]]></category>
		<category><![CDATA[Tous les billets]]></category>
		<category><![CDATA[acquisition]]></category>
		<category><![CDATA[analogique]]></category>
		<category><![CDATA[art contemporain]]></category>
		<category><![CDATA[audiovisuel]]></category>
		<category><![CDATA[cinéma]]></category>
		<category><![CDATA[conservateur]]></category>
		<category><![CDATA[contemporary art]]></category>
		<category><![CDATA[duplication]]></category>
		<category><![CDATA[exposition]]></category>
		<category><![CDATA[media]]></category>
		<category><![CDATA[migration]]></category>
		<category><![CDATA[numérique]]></category>
		<category><![CDATA[obsolescence]]></category>
		<category><![CDATA[patrimoine]]></category>
		<category><![CDATA[production]]></category>
		<category><![CDATA[video]]></category>

		<guid isPermaLink="false">http://obsolescence.hypotheses.org/?p=488</guid>
		<description><![CDATA[Archimage 2010,  De la création à l&#8217;exposition : les impermanences de l&#8217;oeuvre audiovisuelle, INP, BnF et 24/24, 17-19 novembre 2010 Annonce Archimages est un colloque professionnel sur le devenir en Europe des archives de cinéma et de l&#8217;audiovisuel. Il appartient au cycle des Rencontres européennes du patrimoine. On a connu jadis le cinéma permanent, où l’on pouvait à toute heure entrer voir un long métrage de fiction à vedettes. Aujourd’hui, les débats autour du numérique ont remis en avant la permanence de l’enregistrement sur [...]]]></description>
			<content:encoded><![CDATA[<h4><strong><span style="font-size: large"><span style="color: #008080">Archimage 2010,  De la création à l&#8217;exposition : les impermanences de l&#8217;oeuvre audiovisuelle, INP, BnF et 24/24, 17-19 novembre 2010</span></span></strong></h4>
<p><span style="font-size: large"><strong>Annonce</strong></span></p>
<p><span style="font-size: 13.3333px"><em>Archimages est un colloque professionnel sur le devenir en Europe des archives de cinéma et de l&#8217;audiovisuel. Il appartient au cycle des Rencontres européennes du patrimoine.</em></span></p>
<p>On a connu jadis le cinéma permanent, où l’on pouvait à toute heure entrer voir un long métrage de fiction à vedettes. Aujourd’hui, les débats autour du numérique ont remis en avant la permanence de l’enregistrement sur pellicule analogique, par opposition à l’inconnu du devenir des œuvres sur support numérique. Mais la création, si attentive aux matières et aux dispositifs, a suivi, pour à la fois en bénéficier et en jouer, tous les méandres des évolutions technologiques du cinéma et de l’audiovisuel, ce qui pose aujourd’hui de nombreuses questions de conservation et de présentation.</p>
<p>A l’heure du franchissement des frontières entre cinéma et vidéo,de la mutation des salles de cinéma, Archimages10 se propose de faire le point sur le statut, la place et le rôle de l’œuvre audiovisuelle,en particulier au sein des institutions patrimoniales. On abordera les différents moments (et les multiples difficultés) des politiques à mettre en œuvre, dans les musées comme dans les cinémathèques : production, acquisition, conservation, migration et duplication,exposition, avec des interventions d’experts, de créateurs et de conservateurs.<br />
Friedrich Kittler ouvrira les travaux où alterneront pendant trois jours interventions et tables rondes.</p>
<p><strong>Coordination</strong> : INP, en association avec le <a href="http://24-25.fr/groupe.php">Collectif 24/25</a>, la BnF et le CNAP</p>
<p><span style="font-size: x-small"><strong><span style="font-size: medium">Programme du colloque : <a href="http://f.hypotheses.org/wp-content/blogs.dir/185/files/2010/11/Progr_Archimage_2010.pdf">Progr_Archimage_2010</a></span></strong></span></p>
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