Exhibitions, Research, Criticism, Commentary

A chronology of 3,585 references across art, science, technology, and culture
● 06/11/2025

LI-MA Amsterdam and the Dutch Digital Heritage Network (NDE) celebrate World Digital Preservation Day with a new video tutorial series on safeguarding artworks created with the iconic Commodore Amiga computer. “Who Cares for Amiga Artworks?” builds on LI-MA’s AMIGA NU research initiative and guides media art professionals and conservators through the process of accessing and reformatting Amiga files. The first lesson: How to turn Amiga animations into timeless GIFs.

LI-MA
● 04/11/2025
“Video was a brand new art form that had not yet been colonized by men, and the male gaze could easily be short-circuited if you had a woman behind the camera.”
– Art historian and Getty conservator Jonathan Furmanski, on digitizing the relics of a 1970s feminist video exchange network known as “International Videoletters.” Only six tapes survived, containing rare interviews and testimonies. “As histories get written, rewritten and masculinized, these women’s stories are very much in danger of disappearing,” Furmanski tells writer Anya Ventura about the urgency of their preservation.
Getty
● 17/10/2025
“Because this software environment no longer exists, a perfect 1-to-1 recreation in modern code is impossible. The original work remains a unique digital artifact, tied forever to the specific technological moment of its creation.”
– Austrian software artist LIA, on the failed restoration of re-move 09 (2002). One of ten interactive works created in Macromedia Director, the piece explored an inherent glitch in the long-defunct multimedia authoring suite that proved impossible to recreate. “This ‘glitch’ was not an error, but was embraced as a core part of the artwork’s generative process and aesthetic,” LIA writes in the documentation.
LIA
● 17/10/2025

Austrian software artist LIA has restored re-move.org (1999-2003), a suite of ten early interactive works that launched her solo career. Originally made in Macromedia Director to be enjoyed online and on CD-ROM, the minimalist and “deeply personal” pieces have been faithfully rebuilt in p5.js for modern browsers—with one exception: re-move 09 (c. 2002) relied on a Director-specific rendering glitch that, by definition, couldn’t be reproduced.

LIA
● 22/09/2025
“Not every work of art can be brought into the deep future. Stewardship across generations is incredibly laborious. To bring something into the future is to make it separate from that which will not receive the same investments of care.”
– Journalist and researcher Shanti Escalante-De Mattei, on Kelani Nichole’s mission to make digital art “last 100 years.” With Transfer Data Trust, a newly launched data cooperative, the American new media art advocate brings together artists, dealers, and conservators in a care network that includes tools and protocols for decentralized stewardship.
ARTnews
● 05/09/2025

The TRANSFER Data Trust celebrates its public launch at New York’s Pier 57, completing TRANSFER’s evolution from a gallery LLC into a data cooperative. The decentralized, artist-owned archive and value exchange network functions as an “open culture stack” designed to collaboratively manage and maintain digital artworks in perpetuity. According to founder Kelani Nichole, “this emergent care model offers a new approach to media art valuation, conservation, and governance.”

Luma
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● 19/08/2025

Amsterdam’s LI-MA announces a new cataloguing system that accounts for the complexity of media artworks that confounds traditional museum databases. The Four Level Artwork (FLA) model breaks works down to the artist’s core idea, different iterations of the concept, how the work is technically realized, and the files or objects in a collection. Bas van Koolwijk’s TST (2000) demonstrates FLA: one conceptual work becomes two artistic versions, each with two display formats, and specific tapes in LI-MA’s vault.

LI-MA
● 23/06/2025
“At this point you’re beyond preservation, and you’ve turned the game into something that doesn’t just live on, but can actually grow with new generations of players.”
– Tech journalist Tom Nardi, on how decompiling classic videogames to their original source code offers superior preservation. Unlike emulation, which recreates vintage hardware with varying accuracy, decompilation reconstructs games as native code that can be run across different platforms.
Hackaday
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