Volume 6: 2019-2020

Papers presented at the Electronic Media Group session of the 47th AIC Annual Meeting, Uncasville, CT, 2019, and the 48th AIC Virtual Meeting, 2020.

Briana Feston-Brunet, Managing Editor

Front matter and table of contents
Back matter

Papers presented at the Electronic Media Group session of the 47th AIC Annual Meeting, Uncasville, CT, 2019.

Revisiting Chemical Reconditioning Of Cellulose Acetate Motion Picture Films For Improved Digital Reformatting
John Baty; Diana Little, and La Verne Lopes

TBC under control: Suggestion for a new documentation method for the digitization of analogue video
Sophie Bunz

Restoring the Residents: Correcting Fixed and Variable Speed Changes In Video Recordings
Bill Seery and Maurice Schechter

And there Was Light: Restoring the Notman & Son Neon Sign
Sonia Kata

The Use Of Technology For The Preservation Of Light-Kinetic Art: The Conservation Treatment On Three Strutturazioni Ritmiche By Gianni Colombo
Maria Cristina Lanza

A Race Against Time: Preserving iOS App-Based Artworks
Joseph G Heinen Jr. and Morgan Kessler

Towards Best Practices In Disk Imaging: A Cross-Institutional Approach
Eddy Colloton, Jonathan Farbowitz, Flaminia Fortunato, and Caroline Gil

The Potential of Augmented Reality (AR) in the Virtual Performance of Time-Based Media Art
Sasha Arden

First Look: Capturing Emerging Digital Art With Webrecorder
Amye McCarther

Archiving Complex Digital Artworks
Dušan Barok, Annet Dekker, David Gauthier, Claudia Roeck, and Julie Boschat Thorez

Virtual Reality As An Environment and Movement Documenting tool In Conservation Practice For Mechanical Kinetic Artwork
Yu-Hsien Chen and Tzu-chuan Lin

From Immersion to Acquisition: An Overview Of Virtual Reality For Time Based Media Conservators
Savannah Campbell and Mark Hellar

Monuments in Time: An Analysis of Conceptual Tensions in Media Installations
Dan Finn

Decentralized Digital Collections Storage
Erin Barsan and Ben Fino-Radin

Promoting Digital Media Stewardship In Art Museums
Jean Moylan

Conservators In “the Wild”: Collaboration With Art Studios, Galleries, and Collectors
Rachel M. Ward