Versions, Variations, and Variability: Ethical Considerations and Conservation Options for Computer-Based Art

Computer-based art has evolved considerably since the first implementation of computer graphics in the early 1970s. In the past three decades, there has been a radical change towards more sophisticated solutions that have modified our understanding of technological borderlines and the limits of display standards and aesthetics. Although the preservation of computer-based artifacts owes much to discourse and research done in the preservation of electronic and time-based media, the approach to computer-based installations still calls for more exploration. That this topic has attracted little attention so far is mainly due to the lack of specific expertise at various institutions. The conservation of these artworks distinguishes itself from conventional approaches to traditional media. A singular work in different states results in the emergence of variations and multi-locational instantiations that call into question established procedures. At times, an artwork’s recovery may lead to the fabrication of an additional version. In light of this, the ethics of conservation are subject to profound considerations. Moreover, it is not unusual that artists themselves act not only as creators, but also as caretakers. Most importantly, in reference to conservation discourse and the decision-making process—as is true with much of contemporary art (and in this paper)—the artist is not only alive, the artist is involved.