{"id":658,"date":"2019-03-02T17:31:30","date_gmt":"2019-03-02T22:31:30","guid":{"rendered":"http:\/\/resources.culturalheritage.org\/emg-review\/?page_id=658"},"modified":"2019-03-02T17:31:30","modified_gmt":"2019-03-02T22:31:30","slug":"fino-radin","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/emg-review\/volume-4-2015-2016\/fino-radin\/","title":{"rendered":"Susan Kare and Her Macintosh Icons: A Co-Acquisition"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Ben Fino-Radin, Martina Haidvogl, and Mark Hellar<br><em>The Electronic Media Review, Volume Four: 2015-2016<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Abstract<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In\nthe spring of 2015, the San Francisco Museum of Modern Art (SFMOMA) and the\nMuseum of Modern Art (MoMA) inves\u00adtigated co-acquiring a selection of icons of\na graphic designer who pioneered countless design concepts in user interface\nand human-computer interaction and gave Macintosh computers a sense of\npersonality through her iconic designs: Susan Kare. Kare\u2019s archive as it\npresented itself to the two institutions included hand-drawn graphics, a\nsketchbook, and over 300 floppy disks containing born-digital artifacts.\nSpanning over almost two decades, this collection beautifully documents Kare\u2019s\nworking process and allows us to tell the story of the creation of today\u2019s most\nfamous Macintosh icons. This paper will detail the thrilling, and at times\nchallenging, path of accessing the icons on floppy disks, examining them,\nemulating them, and facilitating broad cross-disciplinary review by curators\nand conservators at MoMA and SFMOMA. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This acquisition has caused all involved constituents\nto face numerous challenging questions, some for the first time. How do museums\napproach born-digital archives comprised of hundreds of files in varying states\nof obsolescence and obscurity? How can two institutions effectively engage in a\nco-acquisition when there are great information management needs in order to\nsupport effective curation? How can conservators provide curators with a stable\nand consistent viewing environment for born-digital materials that are\nmulti-faceted and could be viewed myriad ways depending on the software used to\ninterpret the material? How can tools designed for forensic analysis be adopted\nfor the mass analysis and curation of a panoply of files and materials? This\npaper aims to answer some of these questions by detailing how SFMOMA and MoMA\ncollaboratively ventured to acquire a selection of a large convolute of digital\nicons, living on obsolete data media. It will also look to the future of how\nthese artifacts of user interface design will be exhibited both within the\nwalls of institutions, and more broadly, on the web.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ben Fino-Radin <br>Associate Media Conservator <br>Museum of Modern Art<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Martina Haidvogl <br>Associate Media Conservator <br>San Francisco Museum of Modern Art<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mark Hellar <br>Hellar Studios LLC<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ben Fino-Radin, Martina Haidvogl, and Mark HellarThe Electronic Media Review, Volume Four: 2015-2016 Abstract In the spring of 2015, the San Francisco Museum of Modern Art (SFMOMA) and the Museum of Modern Art (MoMA) inves\u00adtigated co-acquiring a selection of icons of a graphic designer who pioneered countless design concepts in user interface and human-computer interaction &hellip; <a href=\"https:\/\/resources.culturalheritage.org\/emg-review\/volume-4-2015-2016\/fino-radin\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Susan Kare and Her Macintosh Icons: A Co-Acquisition&#8221;<\/span><\/a><\/p>\n","protected":false},"author":40,"featured_media":0,"parent":616,"menu_order":22,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"class_list":["post-658","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/658","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/users\/40"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/comments?post=658"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/658\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/616"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/media?parent=658"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}