In the upcoming Reimagines Heritage Salon, Senior Archive Coordinator John Chow and Project Coordinator Chung Wing Shan will delve into the complexities of managing the Videotage Media Art Collection (VMAC). They will share insights on handling a myriad of media artifacts in diverse formats and conditions, strategies for digitally preserving audio-visual artworks, their successful efforts in contextualizing the collection through research and metadata management, and how these efforts could bridge gaps between local historical art events, involved entities, and archival items. Additionally, they will explore their recent innovative use of machine learning for remastering and conserving artworks in magnetic media.
是次RH沙龍中，錄映太奇 (Videotage) 的高級庫藏統籌周皓風與項目統籌鍾詠珊將會分享他們在處理「錄映太奇媒體藝術收藏」 (VMAC) 不同年代作品的媒體格式中遇到的挑戰。內容包括類比媒體數碼化的工序及其困難，計劃和管理機構內數碼庫存的心得，並探討如何糅合過往的活動資料、文獻紀錄、合作過的藝術家及其作品，從而協助本地媒體藝術史的研究。最後，他們更會分享近年嘗試使用機器學習技術對舊影音媒體進行高清復修的經驗。
John Chow Ho Fung is the Senior Archive Coordinator at Videotage (HK). He is responsible for the conservation and display of the Videotage Media Art Collection (VMAC), an expanding media archive that preserves over 2,000 magnetic tapes of video artworks, sketches, and event documentation created as early as 1970 in Hong Kong. He has also participated in various archival conferences, including "Emerging Collaborative Preservation Projects in Asia," ISEA (2022), "Archives in the Digital Era," Art Taipei (2019), and "Rethinking Art Collection and Archive," Flame HK (2019).
周皓風是香港錄映太奇的高級庫藏統籌，專責保存及展示「錄映太奇媒體藝術收藏」(VMAC) 庫存中超過兩千件的本地先鋒錄像藝術作品、草稿以及活動紀錄檔案。他曾獲邀參與多個典藏研討會，包括國際電子藝術研討會(ISEA) 2022的Emerging Collaborative Preservation Projects in Asia、台北國際藝術博覽會2019的Archives in the Digital Era, 以及 香港錄像藝術博覽會（FLAME HK) 的 Rethinking Art Collection and Archive等。
Chung Wing Shan is currently the Project Coordinator at Videotage. Her responsibilities include coordinating the overall archival duties of the Videotage Media Art Collection (VMAC), which includes collection, preservation, and dissemination activities. She is experienced in curating public engagment programmes, notable event such as "Hallucinatory Hereafter" at M+ (2023); "Time-based Media Collection and Accessibility" at VMAC forum with LIMA and n.b.k (2023); and she also participated in the 2nd New Media Art Archiving Summit at ISEA 2022.
鍾詠珊現為香港錄映太奇的項目統籌，負責「錄映太奇媒體藝術收藏」(VMAC) 的整體檔案庫存工作，當中包括收集、保存和展示。她曾協助的項目包括M＋多媒體中心的《隨後‧幻象》(2023)，與LIMA及n.b.k. 合作的《VMAC Forum: 時基媒體的典藏與可及性》 (2023) ，以及國際電子藝術論壇(ISEA) 2022的第二屆新媒體藝術典藏高峰會議。
Developed over the last 20 years in partnership with artists and art professionals, Asia Art Archive’s Research Collection has become a rich repository of primary source material, photographic documentation, video recordings, ephemera, and more. Much of this collection has now been digitized, making these valuable resources accessible for users worldwide. Anthony Yung will discuss the continuous development of AAA’s standards and practices of archival digitization and digital database.
過去廿年，亞洲藝術文獻庫 (AAA) 與藝術家及藝術專才合作開發研究藏品，集合原始資料、攝影文獻、視頻錄像、簡歷等成為其豐富藏庫。大部分藏品現已數位化，旨在令世界各地的用戶可以通過在線獲取這些珍貴的資料。講者翁子健 (Anthony) 將介紹 AAA 持續發展的數位藏庫以及分享其標準與實踐的法門。
Art is knowledge. Asia Art Archive (AAA) is a catalyst for new ideas that enrich our understanding of the world through the collection, creation, and sharing of knowledge around recent art in Asia. With one of the most valuable growing collections of material on the recent history of art from Asia, freely available from our website and onsite library, AAA builds tools and communities to collectively expand knowledge through research, residency, and educational programmes.
藝術即知識。亞洲藝術文獻庫 (AAA) 是新創意的催化劑，通過收集、創造及分享有關亞洲近代藝術的知識，讓人們能豐富對世界的認知。AAA 擁有最有價值的亞洲近代藝術史藏庫之一，可以從我們的網站及圖書館免費獲取資訊，同時AAA建立了各種工具和連結社群，通過研究、駐留計劃及教育項目共同拓展知識。
Anthony Yung is Senior Researcher at Asia Art Archive, specializing in the history of contemporary art in the Great China region. He is the awardee of ‘The Fourth Yishu Awards for Critical Writing on Contemporary Chinese Art’ (2014). He curated ‘A Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese Nations’ (2015, Para Site Art Space, Hong Kong), ‘Learning What Can’t be Taught’ (2020, Asia Art Archive, Hong Kong) and ‘Don’t Kill Me, I’m In Love! A Tribute to Huang Xiaopeng’ (2021, Times Museum, Guangzhou). Yung is also co-founder of Observation Society, an independent art space that once existed in Guangzhou.
翁子健是亞洲藝術文獻庫的資深研究員，其研究針對華人地區當代藝術的歷史。此外，他也從事評論及策展工作。他是第四屆《Yishu》當代中國藝術評論寫作獎（2014年）的得主，曾策劃展覽包括《土尾世界－ 抵抗的轉喻和中華國家想像》（2015年，Para Site藝術空間，香港），《學不可教》（2020年，亞洲藝術文獻庫，香港），及《別殺我，我還在愛！向黃小鵬致敬》（2021年，時代美術館，廣州）等。他也是曾經存在於廣州的獨立藝術空間觀察社的創辦人之一。
Digital Preservation is, at the most basic, the identification of risk and taking appropriate actions to prevent loss. There are four high-level goals: safeguarding files, ensuring that files stay accessible and usable, maintaining context, and ensuring there is ongoing trust in the preserved content. The keys to achieving all of this are good planning, thorough documentation, capturing and creating as much metadata as is feasible, ongoing monitoring of digital objects and the infrastructure they are stored in, and taking proactive preservation actions. This presentation will provide an introduction to identifying risks and steps that can be used to mitigate them.
數位庫存最基本的是要識別風險以及採取適當的行動防止丟失。可先指涉四個高層次的目標：保護文件、確保文件的可訪問性及可用性、維護文件內容以及確保保存文件的內容具持續可信性。去實現這些目標的關鍵在於良好的規劃、詳盡的文檔紀錄、盡可能創建及擷取元數據、持續監控數位物品及其庫存的基礎設施，以及採取積極主動的保存行動。是次演說將介紹如何識別風險以及可用於降低風險的步驟。
Leslie Johnston is the Director of Digital Preservation for the National Archives and Records Administration (NARA), responsible for developing and executing their digital preservation strategy. Ms. Johnston has over 30 years of experience in the cultural heritage, higher education, and federal communities; her expertise includes system design and implementation, setting and applying media file and metadata standards, digitization, and the preservation of born-digital and digitized collections. She has a B.A. and an M.A., both from UCLA.
萊斯莉‧約翰斯頓畢業於加州麻省理工洛杉磯分校，擁有文學學士及文學碩士學位。她 是美國國家檔案及紀錄管理局 (NARA)的數位庫存總監，主責制定和執行數位庫存的保存策略。約翰斯頓女士在文化遺產、高等教育及聯邦社區擁有超過三十年的工作經驗；她的專長包括系統設計和實施、媒體文件和元數據標準制定和應用、原生數位及數位化檔案相關的保存等。