Publications

Auslander, Philip. 2008. Liveness. Performance in a Mediatized Culture. Routledge.

Baker, Simon and Fiontán Moran, eds. 2016. Performing for the Camera. London: Tate Publishing.

Barok, Dusan, et al. 2019. ‘Archiving complex digital artworks.’ Journal of the Institute of Conservation. Vol. 42, No. 2. https://www.tandfonline.com/doi/full/10.1080/19455224.2019.1604398.

Bay-Cheng, Sarah. 2012. ‘Theatre Is Media: Some Principles for a Digital Historiography of Performance.’ Theater. Vol. 42, No. 2, pp. 27–41.

Beerkens, Lydia, Astrid Aarsen, IJsbrand Hummelen, Vivian van Saaze, Sanneke Stigter and Tatja Scholte, eds. 2012. The Artist Interview. For Conservation and Presentation of Contemporary Art. Guidelines and Practice. Amsterdam: Japsam Books.

Bleeker, Maaike with Ric Alsopp, eds. 2012. Performance Research: A Journal of the Performing Arts. Special Issue: On Technology & Memory. Vol. 17, No. 3.

Borggreen, Gunhild and Rune Gade, eds. 2013. Performing Archives/Archives of Performance, Copenhagen: Museum Tusculanum.

Briet, Suzanne. 2006[1951]. What is documentation? (Qu’est-ce que la documentation?) Translated and edited by Ronald E. Day and Laurent Martinet with Hermina G.B. Anghelescu. Lanham, MC: Scarecr

Brügger, Niels. 2005. Archiving Websites: General Considerations and Strategies. Århus: Center for Internetforskning, Aarhus University.

Clarcke, Paul, Jones, Simon and Kaye, Nick. 2015. Artists in the Archive, London and New York: Routledge.

Clausen, Barbara, et. al, eds. 2007. After the Act: The (Re)Presentation of Performance Art. Curation and Archiving. London/New York: Bloomsbury Publishing Plc.

Dekker, Annet and Patricia Falcão. 2017. ‘Interdisciplinary Discussions About the Conservation of Software-Based Art. Community of Practice on Software-Based Art.’ PERICLES, 31 March. http://pericles-project.eu/publications/110.

Dekker, Annet, ed. 2010. Archive 2020: Sustainable Archiving of Born Digital Cultural Content. Amsterdam: Virtueel Platform.

Dekker, Annet, Gabriella Giannachi and Vivian van Saaze. 2017. ‘Expanding Documentation, and Making the Most of the "Cracks in the Wall".’ In Documenting Performance. The Context and Processes of Digital Curation and Archiving, edited by Toni Sant. London/New York: Bloomsbury Academic, pp. 61–78.

Dekker, Annet. 2011. ‘Capturing a Cultural Aesthetic: Documenting Net Art. Annet Dekker in Conversation with Constant Dullaart & Robert Sakrowski.’ Website http://aaaan.net.

Dekker, Annet. 2018. Collecting and Conserving Net Art. Moving Beyond Conventional Methods. Oxon: Routledge.

Edmonds, Ernest and Franco, Francesca. 2019. ‘Evolving Installations: Shaping Space 2012-2017.’ Museums and Digital Culture: New Perspectives and Research, Tula Giannini and Jonathan Bowen (Eds.), London: Springer, 367-379.

Engel, Deena and Glenn Wharton. 2014. ‘Reading between the lines: Source code documentation as a conservation strategy for software-based art.’ Studies in Conservation.

Engel, Deena and Glenn Wharton. 2015. ‘Source Code Analysis as Technical Art History.’ Journal of the American Institute of Conservation (JAIC), Vol. 54, No. 2, pp. 91-101.

Engel, Deena and Glenn Wharton. 2017. ‘Managing Contemporary Art Documentation in Museums and Special Collections.’ Art Documentation, Vol. 36, No 2. https://www.journals.uchicago.edu/doi/full/10.1086/694245.

Engel, Deena, et al. 2018. ‘Reconstructing Brandon (1998-1999): A Cross-disciplinary Digital Humanities Study of Shu Lea Cheang’s Early Web Artwork.’ Digital Humanities. Vol. 12, No. 2, http://www.digitalhumanities.org/dhq/vol/12/2/000379/000379.html.

Ferriani, Barbara and Pugliese, Marina, eds. 2013[2009]. Ephemeral Monuments. History and Conservation of Installation Art. Translated by J. Paul Getty Institute. Los Angeles: Getty Institute.

Franco, Francesca, 2015. ‘Re:shaping new challenges – the origins and future of a series of interactive generative artworks by British artist Ernest Edmonds, 1980s-2000s.’ Acoustic Space 14 Data Drift, Smite, R., Smits, R., and Manovich, L. (Eds.), RIXC, The Center for New Media Culture (Riga) and Art Research Lab of Liepaja University (Liepaja), 100-104.

Franco, Francesca, 2013. ‘Documenting Art as Art: the case of Notes (2000-ongoing) by British artist Ernest Edmonds.’ Visual Resources – An International Journal of Documentation, Vol. 29, No. 4, 333-352 (2013). Edmonds, Ernest, and Franco, Francesca, "From Communication Game to Cities Tango," International Journal of Creative Computing, Vol.1, No.1, 120-132.

Franco, Francesca, et.al. 2020 (in print). ‘The Troubling Affair of Born-digital Art Conservation: creative design for computational art documentation.’ New York: Springer.

George, Adrian, ed. 2003. Art, Lies and Videotape: Exposing Performance. Liverpool: Tate Liverpool, and London: Tate.

Giannachi, Gabriella and Jonah Westerman, eds. 2018. Histories of Performance Documentation. Museum, Artistic, and Scholarly Practices. London: Routledge.

Giannachi, Garbriella, Nick Kaye and Michael Shanks. 2012. Archaeologies of Presence: Art, Performance and the Persistence of Being. London/New York: Routledge.

Graham, Beryl, ed. 2014. New Collecting: Exhibiting and Audiences after New Media Art. Surrey: Ashgate Publishing Ltd.

Gray, Stephen. 2012. ‘Documenting Performance Art for the Archive.’ https://pdfs.semanticscholar.org/696e/519da3f44403c51c82138c850ac1224e7a31.pdf.

Ippolito, Jon. 2011. ‘Wind, Rain and Proliferate Preservation. Draft version 1.0. presentation given at ISEA2011 Istanbul’. http://isea2011.sabanciuniv.edu/paper/wind-rain-and-proliferative-preservation (accessed January 2012).

Jones Sarah, Daisy Abbott and Seamus Ross. 2009. ‘Redefining the Performing Arts Archive.’ Archival Science, Vol. 9, No. 3-4, pp 165–171

Jones, Amalia and Adrian Heathfield, eds. 2012. Perform, Repeat, Record: Live Art in History, Bristol and Chicago: Intellect.

Jones, Caitlin and Lizzie Muller. 2008. ‘Between Real and Ideal: Documenting Media Art.’ Leornardo. Vol. 41, No. 4, pp. 418-9.

Jones, Caitlin. 2007. ‘State of the Art (of Documentation): Three Case Studies for the Daniel Langlois Foundation’s Ten Year Anniversary Exhibition.’ Website http://www.fondation-langlois.org/html/e.

Kaye, Nick. 2000. Site-Specific Art. Performance, Place and Documentation. Routledge.

Krämer, Harald. 2007. ‘Art Is Redeemed, Mystery Is Gone. The Documentation of Contemporary Art.’ In Theorizing Digital Cultural Heritage. A Critical Discourse, edited by Fiona Cameron and Sarah Kenderdine. Cambridge, MA: The MIT Press, pp. 193-222.

Lakhdhar, Ikram. 2017. ‘Capturing the Moment. Archiving Performance Art in the Post-Internet World.’ https://www.dirtdmv.com/writing/archivespart5.

Laurenson, Pip and Vivian van Saaze. 2014. ‘Collecting Performance-Based Art: New Challenges and Shifting Perspectives.’ In Performativity in the Gallery. Staging Interactive Encounters, edited by Outi Remers, Laura MacCulloch and Marika Leino. Bern: Peter Lang Verlag, pp. 27-42.

MacDonald, Corina. 2009. ‘Scoring the Work: Documenting Practice and Performance in Variable Media Art.’ Leonardo. Vol. 42, No. 1, pp. 59-63.

Marsh, Anne. 2014. performance_ritual_document. MS&E Australia.

Maude-Roxby, Alice. 2007. Live Art on Camera: Performance and Photography. Southampton: John Hansard Gallery.

O’Dell, Kathy. 1997. ‘Displacing the Haptic: Performance Art, the Photographic Documents, and the 1970s.’ Performance Research. Vol. 2, No. 1, Spring, pp. 73-81.

Phelan, Peggy. 1993. Unmarked: The Politics of Performance. London/New York: Routledge

Reason, Matthew. 2003. ‘Archive or Memory? The Detritus of Live Performance.’ New Theatre Quarterly. Vol. 19, No. 1, pp. 82-9.

Rinehart, Richard and Jon Ippolito. 2014. Re-Collection: Art, New Media, and Social Memory. Cambridge, MA: The MIT Press.

Roms, Heike. 2008. What’s Welsh for Performance? An Oral History of Performance Art in Wales. Cardiff: Samizdat Press.

Rubinstein, Daniel, & K. Sluis, Katrina. 2013. ‘The Digital Image in Photographic Culture: Algorithmic Photography and the Crisis of Representation’ In: M. Lister (ed.) The Photographic Image in Digital Culture, 2nd Ed. London: Routledge pp. 22-40.

Rubinstein, Daniel, and Sluis, Katrina. 2008. ‘A Life More Photographic? Mapping the Networked Image’, Photographies 1 (1) pp.9-28. ISSN 17540763.

Sant, Toni, ed. 2017. Documenting Performance. The Context & Processes of Digital.

Schneider, Rebecca. 2011. Performing Remains. Art and War in Times of Theatrical Reenactment. Routledge.

Serexhe, Bernhard, ed. 2013. Digital Art Conservation. Preservation of Digital Art: Theory and Practice. The Digital Art Conservation Project. Vienna: Ambra Verlag.

Sluis, Katrina, C.Paul, Christiane & Stallabrass, Julian. 2013. ‘The (Photographic) Canon After the Internet: Katrina Sluis in conversation with Christiane Paul and Julian Stallabrass’ in: Aperture No. 213, Winter 2013 pp 36-41.

Sluis, Katrina. 2016. ‘Authorship, Collaboration, Computation? Into the Realm of Similar Images’ In: K Kuc & J Zylinska (eds) Photomediations: A Reader London: Open Humanities Press pp. 283- 289.

Sluis, Katrina. 2017. ‘Accumulate, Aggregate, Destory: Database fever and the archival web’ In: A Dekker (ed.) Lost and Living (in) Archives, Amsterdam: Valiz , pp. 27-40.

Van Saaze, Vivian and Annet Dekker. 2013. ‘Surprising Usages of a Documentation Model: On the Notion of Boundary Objects and Beyond.’ International Journal of Performance Arts & Digital Media. Vol. 9, No. 1, pp. 99-113.

Van Saaze, Vivian. 2012. ‘The Ethics and Politics of Documentation. On Continuity and Change in the Work of Robert Smithson.’ In Robert Smithson – Art in Continual Movement: a Contemporary Reading, edited by Ingrid Commandeur and Trudy van Riemsdijk-Zandee. Amsterdam: Alauda Publishers, pp. 63-84.

Wharton, Glenn, Deena Engel, & Marvin J. Taylor. 2016. ‘The Artist Archives Project – David Wojnarowicz.’ Studies in Conservation. London: International Institute for Conservation. Vol. 61, No. 2, pp. 241-7.

Wijers, Gaby., Rodrigo, Evert, Coelho, Ramon. 2003. (eds) ‘The Sustainability of Video Art: Preservation of Dutch Video Art Collections’, Amsterdam: Foundation for the Conservation of Modern Art.

Wijers, Gaby and van Saaze, Vivian. 2003. ‘Reanimaties: Onderzoek naar de Presentatie en Registratie van Vier Media-Installaties’, kM, 46: 18–20.

Wijers, Gaby, van Saaze, Vivian, Dekker, Annet. (2010). ‘What Visual Arts Preservation Can Learn from Dance Reconstruction: An Introduction to the Current State of Research within IMK’, in RTRSRCH, 2:2, pp. 15-7.

Wijers, Gaby. 2011. ‘To Emulate or Not: Conservation Case Studies from the Netherlands’, in Scholte, K., and Wharton, G., Inside Installations, Amsterdam: University Presses, pp. 81-91.

Wijers, Gaby. 2013. ‘Obsolete Equipment: Ethics and practices of Media Art Conservation’, in Noordegraaf, J., Saba, C., Le Maître, Hediger, C., eds Preserving and Exhibiting Media Art, Amsterdam: University Presses, pp. 235-253.

Wijers, Gaby. 2017, Duurzame opslag en ontsluiting van digitale kunst, 2017. In: Boekman 29ste jaargang no 110, 2017 p. 22-29.

Wijers, Gaby. 2019. Taking Care of Media Art in the Netherlands: A Brief History. In A Critical History of Media Art in the Netherlands (1985-now) ed. Marga van Mechelen and Sanneke Huisman, Prinsenbeek : Jap Sam Books, 2019 (fortcomming).

Wijers, Gaby, 2019. Unfold: the Strategic Importance of Reinterpretation for Media Art Mediation & Conservation. In: MémoireVives: From Nam June Paik to Sliders_lab / ed. Jean-Marie Dallet. – Tielt : Lannoo, 2019 p. 96-101.

Wilkie, Fiona. 2004. ‘Documenting Live and Mediated Performance – The Blast Theory Case Study.’ In A Guide to Good Practice in Collaborative Working Methods and New Media Tools Creation (by and for artists and the cultural sector), edited by Lizbeth Goodman and Katherine Milton. Commissioned by: AHDS Performing Arts. Kings College, London. Website.

Zelevansky, Lynn. 1981. ‘Is There Life After Performance.’ Flash Art No. 105, Dec 1981-Jan 1982, pp. 33-42.