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21.04.2026 | SESSION:03 :: 05.05.2026 | ||
[[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. | - | ||
SESSION:02 :: 28.04.2026 (RESEARCH : DIAGRAM : DISCUSSION) | |||
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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.'' | |||
Latest revision as of 09:37, 28 April 2026
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)
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.