本系列講座邀請「概念美術館 Vol.1 穿越光牆」策展人暨「科技藝術典藏基礎計畫」團隊成員陳禹先開啟新的討論。陳禹先於自己的碩論中，統計全台指標性美術館共典藏近400件新媒體藝術作品（包含：國美館、北美館、高美館、關美館及DAC（臺北數位藝術中心），統計時間截至2016年6月）。更另以國美館為例，在近200件的新媒體藝術典藏品中，除了錄像藝術，尚有電腦程式、互動裝置、機械動力等再現需求更為複雜的藝術作品。

科技藝術作品的創作媒介，往往包含創作時空背景下盛行的科技產品及數位檔案，再加上當今藝術創作越來越多共創式的作品，即使請來藝術家本人，在科技汰換和人事已非的現實情境下，也難以回答這類作品的保存年限和該如何延續其壽命。

我們必須思考，這類型作品受美術館典藏，進入公有文化資產的範疇後，它們受到怎樣的對待？如何被保存、維護，甚至修復與再現？

在國際少數設有媒體藝術修復部門的機構中，所謂「媒體藝術修復師」（Media Art Conservator）又是什麼樣的角色？

此系列講座，將以講者個人經驗和長期研究關注，自美術館典藏管理事務的田野經驗中，分享機構欲永續典藏科技藝術作品所面臨的問題，及當前國際上較盛行的理論實務；並於第二與第三場講座，引用《Re-Collection》一書：Death by Technology, Death by Institution, Death by Law 敘述之三個面向，介紹科技藝術作品典藏失敗的主因，同時提供另一種更適用於新媒體創作媒介的典藏概念。

陳禹先，曾於荷蘭擔任CD-ROM Art Archivist、回國後於國美館共同承辦「新媒體藝術典藏保存與維護國際研討會」，其碩士論文以國立臺灣美術術館為例，探討數位科技文化資產的保存與維護，並於今年五月赴美國參加AIC保存年會，發表其研究與工作成果。

https://www.facebook.com/events/354083558643635/

2018下半年度，數位藝術基金會舉辦「科技藝術典藏基礎計畫（Save Media Art）」三場科技藝術典藏系列講座，以計畫主持人陳禹先、林子荃兩位長期研究與關注經驗，自美術館典藏管理事務的田野經驗中，分享永續典藏科技藝術作品所面臨的問題及介紹國際上較盛行的理論實務。

2019年7月，奠基於前三場講座，邀請三位國際研究人員：Aneet Dekker、Jonathan Farbowitz、Emma Dickson，與陳禹先、林子荃進行兼具理論與實務角度的跨國對談，以網路藝術研究者、時基藝術修復師的眼界，與台灣觀眾分享他們行走於網路藝術保存與維護一途上的經驗。

★2019.7.2（二）19:50 – 21:00

科技藝術典藏 系列講座四

Annet Dekker 【「收藏網路藝術-探索常規之外的保存途徑」作者導讀 / Collecting and Conserving Net Art – Moving Beyond Conventional Methods】

In this talk, Annet Dekker will focus on some of the challenges and opportunities in the conservation and contextualisation of net art practices for the traditional keepers of cultural heritage. As important stakeholders of cultural heritage, museums and archives are faced with new collaborators and need to find ways to re-organise and re-structure their practices to adapt and facilitate the process that enables the continuation of these practices as ‘living’ environments that can adapt to the flexible requirements of the mutable works it contains. I will present some examples of how this type of collecting documents the different versions, the process and instability of a work that evolves over time. In the process, exploring what it means to become part of a ‘network of care’ in which a collaborative approach is vital to comprehending the complexities of net art and ensure its longevity.

★2019.7.17（三）20:00 – 21:00

科技藝術典藏 系列講座五

Jonathan Farbowitz

【時基媒體藝術修復師的養成 – Jonathan Farbowitz 經驗分享 / How to become a Time-based Media Conservator – Experience form Jonathan Farbowitz】

As the Guggenheim’s Fellow in the Conservation of Computer-based Art, Jonathan Farbowitz addresses the preservation needs of collection artworks that employ a variety of technologies, including artist-created hardware, software, and websites. Jonathan will explain how his pre-program experiences, combined with his graduate education prepared him for a practice-based research fellowship that explores unfamiliar territory within time-based media art conservation. In addition, he will discuss the challenges of surveying, backing up, and maintaining computer-based artworks, while emphasizing the importance of interdisciplinary collaboration with computer science and other fields.

★2019.7.24（三）20:00 – 21:00

科技藝術典藏 系列講座六

Jonathan Farbowitz、Emma Dickson

【古根漢美術館x紐約大學 – 鄭淑麗〈Brandon〉 網路藝術典藏品修復案例 / Guggenheim x NYU – Restoring Collection of Shu Lea Cheang’s Brandon】

Commissioned by the Guggenheim in 1998, Brandon is a seminal web artwork by Shu Lea Cheang. However, the fast-evolving technological landscape of the web caused a number of Brandon’s features to fail. Thus, the artwork became the Guggenheim’s first ever online restoration project as part of its Conserving Computer-based Art initiative (CCBA).
Jonathan Farbowitz and Emma Dickson, members of the multi-displinary restoration team, will discuss the technical details of the restoration, including how conservation ethics were applied to a migration of the artwork’s code from one programming language to another.