Handling New Media
BA Studio Art with Video Concentration, State University of NY (Brockport).
I first became involved with preservation as a videomaker and media arts administrator in the late 1980s, when I attempted to transfer a tape from the 1970s shot on 1/2" open reel; the tape clogged the heads, creating a screen filled with snow and brought the deck to a dead halt. Beginning in 1993, I began to advocate for the independent media arts community in preservation forums, and with partners including the Experimental Television Center (ETC) and the Bay Area Video Coalition (BAVC). I worked to organize the field to take charge of their collections. I was the founding director of Independent Media Arts Preservation (1999), and worked with ETC on the Video History Project (1998-present), the Video History Conference, and Looking Back/Looking Forward (2002), a symposium on video remastering. With conservator Paul Messier, I coordinated TechArcheology: Installation Art Preservation (2000), the first US symposium on time-based media installations.
I have consulted extensively on preservation projects, with groups as diverse as Thirteen/WNET, Public Affairs Television (Bill Moyers), Grand Rapids Community Media, the National Gallery of Canada, the Museum of Modern Art, Deep Dish Television, the Fabric Museum, and Rhizome.org. From 2003-2006, I worked as Moving Image Preservation Specialist/Research Scholar at the NYU Bobst Library, organizing their film/media preservation program, and with Howard Besser to establish the Moving Image Archiving and Preservation Program (MIAP). My teaching has included Introduction to MIAP, Collection Management, Video Preservation, Digital Preservation, Handling New Media, Internship Seminar, and Advanced Topics in Preservation Studies.
Recent writing projects has appeared in the Journal of Archival Organization and The Moving Image, and the Videotape Identification and Assessment Guide. In 2003, I was Researcher-in-Residence at the Daniel Langlois Foundation for Art, Science and Technology, and developed a cataloging template and methodology for describing electronic devices used by media artists. I am currently working with Kathy High (RPI) and Sherry Miller Hocking (ETC) on a project, "Tools Analogs and Intersections: Video and Media Art Histories", focusing on the history of 1970s custom-built electronic art tools, and dialogues between "pioneers" of tool development and current practitioners. I work with the video preservation collective Free the Tapes and am a participating researcher for DOCAM, a Canadian initiative for media art documentation and conservation.
Publications & Projects:
Co-author with Jerome McDonough of "Video Preservation and Digital Reformatting: Pain and Possibility" (Journal of Archival Oraganization, 2006); Co-author with Paula De Stefano of "Commercial Video Collections: A Preservation Survey of the Avery Fisher Collection at NYU" (The Moving Image, date pending). Co-author with Sherry Miller-Hocking, "Video Preservation: the Basics" (Experimental TV Center, 1999); co-editor/writer with Liss Platt, Magnetic Media Preservation Sourcebook (Media Alliance, New York, 1998) and Videotape Identification and Assessment Guide (Texas Commission on the Arts, 2004). Founding Director of Independent Media Arts Preservation, 1999-2001; Moving Image Preservation Specialist/Visiting Research Scholar, Elmer Holmes Bobst Library 2003 -2006; principal consultant, Materia Media since 1996. Program developer, TechArcheology: Installation Art Preservation (2000); co-developer of Looking Back/Looking Forward symposium on media remastering (2002), the Video History Project web site (1999), and the conference Video History: Making Connections (1998). Founding member of AMIA Committee on US Moving Image Preservation Plans; currently Participating Researcher with DOCAM, Documentation and Conservation of Media Arts Heritage. Artist Fellowship, Computer Arts, NY Foundation for the Arts, 1997; Researcher-in-Residence, Daniel Langlois Foundation for Art, Science and Technology, 2003.