Medien Wiki - User contributions [en]

GMU:Patterns/Bilge Isguzar

2026-04-28T09:37:20Z

Bilgeisguzar:

SESSION:03 :: 05.05.2026
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SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|347x347px]]SAVE IT FOR LATER* :: This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''*This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:36:39Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|347x347px]]SAVE IT FOR LATER* :: This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''*This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:36:22Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|347x347px]]SAVE IT FOR LATER*

This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''*This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:36:13Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|385x385px]]SAVE IT FOR LATER*

This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''*This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:35:49Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|338x338px]]SAVE IT FOR LATER*

This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''*This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:35:03Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|354x354px]]SAVE IT FOR LATER*

This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''*This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:34:49Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|340x340px]]SAVE IT FOR LATER*

This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''*This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:34:09Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|340x340px]]SAVE IT FOR LATER (''This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.)''

This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

GMU:Patterns/Bilge Isguzar

2026-04-28T09:33:29Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|340x340px]]SAVE IT FOR LATER: This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:33:06Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|340x340px]]This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:32:50Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM)
-
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|340x340px]]This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:32:24Z

Bilgeisguzar:

SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM)
SESSION:01 :: 21.04.2026 (BACKGROUND : PAST WORKS : INITIAL IDEAS)
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|340x340px]]This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

GMU:Patterns/Bilge Isguzar

2026-04-28T09:30:07Z

Bilgeisguzar:

21.04.2026
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|340x340px]]This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

''This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.''

28.04.2026

GMU:Patterns/Bilge Isguzar

2026-04-28T09:29:14Z

Bilgeisguzar:

GMU:Patterns/Bilge Isguzar

2026-04-28T09:28:39Z

Bilgeisguzar:

GMU:Patterns/Bilge Isguzar

2026-04-28T09:28:27Z

Bilgeisguzar:

21.04.2026
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|373x373px]]This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital.

While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses.

Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered.

The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system.

What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

GMU:Patterns/Bilge Isguzar

2026-04-28T09:27:44Z

Bilgeisguzar:

21.04.2026
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]|373x373px]]This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital. While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses. Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered. The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system. What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

GMU:Patterns/Bilge Isguzar

2026-04-28T09:27:25Z

Bilgeisguzar:

21.04.2026
[[File:DTAD save-it-for-later render-out.png|thumb|[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]]]This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital. While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses. Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered. The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system. What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.

GMU:Patterns/Bilge Isguzar

2026-04-28T09:25:35Z

Bilgeisguzar:

21.04.2026
[[File:DTAD save-it-for-later render-out.png|thumb|This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital. While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses. Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered. The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system. What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible. [[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]]]

GMU:Patterns/Bilge Isguzar

2026-04-28T09:25:24Z

Bilgeisguzar:

21.04.2026
[[File:DTAD save-it-for-later render-out.png|thumb|This project explores how archiving changes when the object of archaeology is no longer purely physical but also digital. While traditional archaeology works through a linear timeline, relying on material persistence that allows interpretation even centuries later, media art does not offer this stability. As technology, context, and exhibition conditions disappear, the possibility of retrospective archiving collapses. Rather than treating the archive as a neutral container, this project approaches archiving as an active and irreversible act. Access becomes transformation, and preservation is inseparable from loss. Each reinterpretation of the work alters what can be remembered. The installation presents four artworks simultaneously through process and live recordings, navigable timelines, and progressive decay. Visitors are allowed a single act of preservation: selecting and printing one moment in time. This act produces both a physical trace and an irreversible degradation of the system. What remains after the exhibition is not the work itself, but a fragmented, insufficient archive composed of chosen moments. The project does not attempt to solve the problem of preserving media art. Instead, it makes the impossibility of preservation visible.[[File:DTAD save-it-for-later project-documentation.pdf|thumb|This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]]]

GMU talk:Patterns/Xenia Günther

2026-04-28T09:22:44Z

Bilgeisguzar: Created page with ""Are we pregnafix? by Marthe Fock All gender test device, 2021 Toilet and collective pregnancy testing machine 48x32x13 cm The work, “Are we pregnafix? All gender test device”, consists of a machine that automatically carries out collective pregnancy tests. Visitors of the exhibition urinate in a test booth and the collected urine is pumped through a pipe into the exhibition space. The machine carries out a Pregnafix pregnancy test with each dose of urine and then..."

"Are we pregnafix? by Marthe Fock

All gender test device, 2021 Toilet and collective pregnancy testing machine 48x32x13 cm

The work, “Are we pregnafix? All gender test device”, consists of a machine that automatically carries out collective pregnancy tests.
Visitors of the exhibition urinate in a test booth and the collected urine is pumped through a pipe into the exhibition space. The machine carries out a Pregnafix pregnancy test with each dose of urine and then positions it horizontally for three minutes. During this time, people regardless of their sexual orientation, age or body can experience the process of uncertainty and waiting. The joint test addresses shared responsibilities and questions the role of the pregnant person. The installation brings this private act into the public space, creating transparency about intimate processes."

thought you might find this work interesting so I wanted to share! -Bilge

GMU:Patterns/Bilge Isguzar

2026-04-28T09:17:19Z

Bilgeisguzar: Created page with "21.04.2026 This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.]]"

File:DTAD save-it-for-later render-out.png

2026-04-28T07:28:18Z

Bilgeisguzar:

This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz

File:DTAD save-it-for-later project-documentation.pdf

2026-04-28T07:25:45Z

Bilgeisguzar:

This project was created during WiSe25 in collaboration with fellow classmates Berkin Yesil and Serap Kacmaz.