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4. Case studies – Preservation strategy analysis and risk assessment

4.3. SHFT-34

4.3.1. Transformation Digital Art project – Preservation of SHFT-34

The original work produced in 1982 did not survive, but the source code did which made it possible to create a new version of the work in 2007, duplicated in 30 copies. These versions are available on two storage formats: CD-ROM and SD-card. This comes with a book necessary for the work to be complete.

Each carrier contains the same files, sorted in two folders: one dedicated to the executable files for three different operating systems (Windows, Linus and Mac), the other containing an installation package for a Java Runtime Environment (JRE).110 The second software package is necessary for applications which have been written in Java language to operate.111 Both the original and translated source codes are documented on paper and are in possession of Peter Struycken and Floris van Manen.

During the TDA project, LIMA studied the 7/30 version of the work owned by the Kröller-Müller Museum. The questions around SHFT-34 were as follows: “can this work be re-shown using current technology? What parameters apply to any eventual migration? Can these parameters apply to the subsequent migration? Can the owner, the artist, and the experts jointly define these parameters?

What is the state of SHFT-34 now, ten years later? Does the work still function, and how sustainable is the current version?”112

LIMA made a digital backup of SHFT-34. An exact copy of all data from the CD-ROM was made (through an ISO file) and stored on the SD-card. The compatibility* of the program with different systems was tested during the project to understand their impact on the aesthetic of SHFT-34.

Running a program in a new system can influence its speed, colour and dynamic movement.113 SHFT-34 was written to run on 3 operating system. Since Windows and Mac* are not open-sources OS, plus with license issues, Linux* offers the best prospects for future access. The MSI Cubi mini pc with specific characteristics was selected for future presentation.114

For this artwork, emulation was chosen. The aim was to maintain a technical environment that supports the required technical environment to run the software.115

110 The JRE is providing the runtime environment. It implements the Java Virtual Machine (JVM), Java platform core classes and supporting Java platform libraries.

111 Van Doren, "Documenting Digital Art Defining and Documenting Significant Properties of Digital Artworks by Peter Struycken."

112 LIMA, "Shft-34 (1982-2007) - Peter Struycken," https://www.li-ma.nl/lima/nl/article/shft-34-1982-2007-peter-struycken. [accessed April 26, 2021]

113 David S.H. Rosenthal, "Emulation & Virtualization as Preservation Strategies," ed. The Andrew W. Mellon Foundation (New York2015).

114 Wijers et al., Project Transformation Digital Art. Preservation of Born-Digital Art.

115 Falcão and Ensom, "Conserving Digital Art."

4.3.2. Future of the work – risk assessment

According to the “Obsolescence Ranking” from the Museum of Obsolete Media, CD-ROMs and SD-cards are at level 1, meaning in current use or low risk.116 The equipment to read both carriers is still produced or widely available. However, these media are still prone to damage and threaten to become obsolete. One version of the artwork is preserved in the Kröller-Müller storages. We can expect that this version does not risk any mechanical damaged (handled with care by museum professionals). The main risk is that the operating system distributed and sold in the future will no longer read the disk.117 In order to counteract this inevitable consequence, a regular check of the condition of the work and its functionality is necessary. However, the increasing number of digital works in museums’ collection makes this task difficult.118 The financial means of an institution as well as the value of the work will greatly influence the preservation of a work. SHFT-34 has a high value, but the duplicity of the work (30 versions) could influence the museum's approach to it.119 The artist’s will is to keep the source code unpublished until van Manen and himself are deceased, to prevent plagiarism. It is important to make sure that the source code remains available and well preserved. It provides a way of examining the artwork without running the software. Analysing the code helps identifying the artwork’s behaviour.120 Plus, if Java no longer supports its older versions in the future, the source code would become the essential element to allow the analysis and restoration of the work.

According to LIMA, the MSI Cubi mini-pc could be used for the “next three to five years”.121 In 2021, we are crossing this five-years limit. What is the situation today? According to the MSI website, the Cubi mini-pc is still produced.122 The one selected for SHFT-34 has the following connectors: HDMI via Mini DisplayPort, VGA and DVI video port. It should be ensured that this mini-pc is still working.

However, from a technical point of view, it still seems to be functional and usable. Nowhere is it specified on what type of computer or monitor the work should be displayed. The artist didn’t provide more specific information about it, nor was it part of the acquisition.123 In the past, SHFT-34 has been shown on a Panasonic screen at the Kröller-Müller Museum or on a computer screen, connected to a mouse to make the work interactive, at the Andriesse Eyck Gallery (see Figure 14 and Figure 15, p.35).

116 Museum of Obsolete Media, "Obsolescence Ratings," https://obsoletemedia.org/media-preservation/obsolescence-ratings/. [accessed May 18, 2021]

117 Tali Chiyong Han, "The Challenge of Archiving Obsolete Media,"

https://www.guggenheim.org/blogs/findings/the-challenge-of-archiving-obsolete-media. [accessed May 18, 2021]

118 Rosenthal, "Emulation & Virtualization as Preservation Strategies."

119 At the time of publication of this thesis, it has not been possible to obtain answers from the Kröller-Müller museum on their approach to the work. However, contact has been made and these questions should be answered soon.

120 Joanna Phillips, "Shifting Equipment Significance in Time-Based Media Art.," in Electronic Media Group Session, ed. AIC 36th Annual Meeting Ma (Milwaukee2010).

121 Wijers et al., Project Transformation Digital Art. Preservation of Born-Digital Art.

122 LTD Micro-Star INT'L CO., "Desktops Cubi," https://fr.msi.com/Desktop/Cubi. [accessed May 18, 2021]

123 Van Doren, "Documenting Digital Art Defining and Documenting Significant Properties of Digital Artworks by Peter Struycken."

Figure 14 SHFT-34 28/30, exhibition at Andriesse Eyck Gallery, 2007 ©Andriesse Eyck Gallery

Figure 15 SHFT-34 7/30 ©Kröller Müller Museum

According to Peter Struycken, the work can be displayed in different ways, as long as the experience of the colours, their relationship and the movement remains true to the original concept.124 Emulation influences the faithfulness to the original work (execution and experiential fidelity).125 To create the right environment for the work, the viewer’s experience must be put at the centre of the preoccupations. Timing, visual aesthetics (sometimes sound for some works)126, realism, fidelity, so many parameters to be considered and which make emulation difficult. Should emulation be applied again in the future or could another preservation strategy be considered and preferred? Two main barriers exist when it comes to emulating a system. First, the legal basis for delivering emulations is either unclear or highly restrictive.127 Second, as Rosenthal describes it,

“developing and fixing bugs in emulators requires a high level of programming skill and motivation”.128 It is therefore the duty of the museums or independents in possession of the work to become financially involved in order to guarantee the durability of the work. The financial involvement must be coupled with the work of a professional with the necessary IT, ethical and conservation knowledge. The solution lies in collaboration and in understanding the objectives of preservation.129

124 Struycken, "Interview with Peter Struycken."

125 Rosenthal, "Emulation & Virtualization as Preservation Strategies."

126 Although a work does not always have a sound dimension, like SHFT-34, it is important to keep in mind the influence of the sound of the exhibition material (computer, screens, projector etc).

127 Falcão and Ensom, "Conserving Digital Art."

128 Rosenthal, "Emulation & Virtualization as Preservation Strategies."

129 Acker, "Emulation Practices in Place: Coordinating Software Preservation in Libraries, Archives, and Museums.."