Jack McConchie
ABSTRACT
As artists increasingly engage with virtual reality (VR) technologies, the artworks they produce are beginning to enter the collections of cultural heritage institutions. Museums, libraries and archives are therefore assessing how these complex works might be brought into collections and how they might be stabilised to ensure they can be exhibited in the long-term. Reporting on ongoing research at Tate in London, in this talk we will introduce our perspective as conservators of time-based media (broadly understood as art with a technological component that unfolds over time) on the challenges we face in preserving virtual reality artworks. We expect this to be of interest to SIGGRAPH attendees who are considering the legacy of their creations and the ways in which virtual reality artworks (and related technologies) might be stabilised in order to secure their future.
Supplemental Material
- Savannah Campbell. 2017. "A Rift in Our Practices?: Toward Preserving Virtual Reality." Masters Thesis. NYU. https://www.nyu.edu/tisch/preservation/program/student_work/2017spring/17s_thesis_Campbell.pdfGoogle Scholar
- Candice Cranmer. 2017. Preserving the emerging: virtual reality and 360-degree video, an internship research report. Netherlands Institute for Sound and Vision. http://publications.beeldengeluid.nl/pub/584Google Scholar
- Tom Ensom. 2018. Revealing Hidden Processes: Instrumentation and Reverse Engineering in the Conservation of Software-based Art. Presented at the AIC 46th Annual Meeting, Houston, TX, USA. Forthcoming in Electronic Media Group Review (5).Google Scholar
- Patrícia Falcão, Alistair Ashe and Brian Jones. 2014. Virtualisation as a Tool for the Conservation of Software-Based Artworks. https://pdfs.semanticscholar.org/38a1/ef01599accfcda2f17767fc299fed98880bb.pdfGoogle Scholar
- Khronos Group. 2019a. OpenXR. Retrieved from https://www.khronos.org/openxrGoogle Scholar
- Khronos Group. 2019b. Vulkan. Retrieved from https://www.khronos.org/vulkan/Google Scholar
- Khronos Group. 2019c. glTF Overview. Retrieved from https://www.khronos.org/gltf/Google Scholar
- Pip Laurenson. 2016. "Old media, new media? Significant difference and the conservation of software-based art." New collecting: Exhibiting and audiences after new media art. Routledge, 2016. 73--96.Google Scholar
- Jack McConchie. 2018. VR Tools as Spatial Documentation. Presented at the AIC 46th Annual Meeting, Houston, TX, USA.Google Scholar
- Klaus Rechert, Patricia Falcao and Tom Ensom. 2016. Introduction to an emulation-based preservation strategy for software-based artworks. https://www.tate.org.uk/download/file/fid/105887Google Scholar
- Web 3D Consortium. 2019. What is X3D?. Retrieved from http://www.web3d.org/x3d/what-x3d.Google Scholar
Index Terms
Preserving virtual reality artworks: a museum perspective
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