An online museum of sounds—the recordings of analogue machines.
The museum exhibits over 800 carefully selected and sorted web sites that show web design trends between the years 1995 and 2005.
When Aaron talks, I listen. This time he’s talking about digital (and analogue) preservation, and how that can clash with licensing rules.
It is time for the sector to pick a fight with artists, and artist’s estates and even your donors. It is time for the sector to pick a fight with anyone that is preventing you from being allowed to have a greater — and I want to stress greater, not total — license of interpretation over the works which you are charged with nurturing and caring for.
It is time to pick a fight because, at least on bad days, I might even suggest that the sector has been played. We all want to outlast the present, and this is especially true of artists. Museums and libraries and archives are a pretty good bet if that’s your goal.
If you enjoyed reading Marcin’s serendipitous story on Twitter, here are the pictures to accompany it.
Sounds from our collective technological past.
(I’ll look past the fact that the sound labelled “ZX Spectrum” is using an image of an Amstrad PCP 464)
I like this. It fills like a very webby way to explore a museum collection. Use any axis you like.
This is a sketch made quickly to explore what it means to navigate a museum catalogue made of over two million records. It’s about skipping around quickly, browsing the metadata as if you were wandering around the museum itself in Bloomsbury, or better yet, fossicking about unattended in the archives.
A profile of the great work Aaron and Seb have been doing at the Cooper Hewitt museum. Have a read of this and then have a listen again to Aaron’s dConstruct talk.
Remember Aaron’s dConstruct talk? Well, the Atlantic has more details of his work at the Cooper Hewitt museum in this wide-ranging piece that investigates the role of museums, the value of APIs, and the importance of permanent URLs.
As I was leaving, Cope recounted how, early on, a curator had asked him why the collections website and API existed. Why are you doing this?
His retrospective answer wasn’t about scholarship or data-mining or huge interactive exhibits. It was about the web.
I find this incredibly inspiring.
We need a web design museum.
I am, unsurprisingly, in complete agreement. And let’s make lots of copies while we’re at it.
Planetary: collecting and preserving code as a living object | Smithsonian Cooper-Hewitt, National Design Museum in New York
Aaron Straup-Cope and Seb Chan on the challenges of adding (and keeping) code to the Cooper-Hewitt collection:
The distinction between preservation and access is increasingly blurred. This is especially true for digital objects.
This is so crazy, it just might work. Matt wants the internet to buy Wardenclyffe and turn it into a Tesla museum.
Here’s one to add to Instapaper or Readability to savour at your leisure: Aaron Straup Cope’s talk at Museums and the Web 2010:
This paper examines the act of association, the art of framing and the participatory nature of robots in creating artifacts and story-telling in projects like Flickr Galleries, the API-based Suggestify project (which provides the ability to suggest locations for other people’s photos) and the increasing number of bespoke (and often paper-based) curatorial productions.
This description of a tour of the Museum of Soviet Arcade Games is like a travelogue from an alternative dimension.
The V&A has an API. Who knew? Looks very nice indeed.
Instruction manual to operate and maintain Charles Babbage's 2nd Difference Engine built by Barrie Holloway and Reg Crick, June 1991 for the Science Museum, London SW7 2DD.
Flickr Commons just keeps growing and growing. Now there are wonderful collections of pictures from Greenwich available for us all to peruse and tag.
The Museum of Computing ("committed to the preservation and display of examples of early computers") needs a new home. Do you know of anywhere that might be a good fit?