Material-Code-Stack: Conserving Born-Digital Objects and their Infrastructures

博物馆如何维护支持其收藏中的天生数字物品的基础设施，并反过来考虑到这些物品的外部依赖性来保护这些物品？在保护网络艺术品、软件和其他基于计算机的媒体等与生俱来的数字对象方面，已经做出了大量努力来减轻过时的风险(Falcão 2011-12)，并在这些工业部件不可避免地失去支持后管理变化(Engel&Phillips 2019；Laurenson 2006)。然而，作为这些文物的基础，但基本上是外部的各种基础设施的保护仍然知之甚少，这使得它们之间的相互关系和身份在博物馆环境中很难维持。我的研究项目填补了这一空白，不仅在材料身体和编码环境方面解决了出生数字对象的保护需求，这些组件最常受到干预(Guez等人，2017；Rechert等人)。也包括它们的技术和知识基础设施，或它们的“堆栈”--最初在计算中使用的一个术语，表示支持软件执行的基础设施层。在技术艺术史、文物保护和媒介考古学的交叉点上，我的研究将(1)开发一个理论框架，作为将专有技术及其用户社区结合在一起的支持系统的“栈”；(2)扩展现有的基于软件的艺术品保护技术-包括代码迁移、逆向工程、反编译、磁盘成像和仿真/虚拟-使用上述框架；(3)应用和评估这些关键的知情技术基于维多利亚和

How can museums maintain the infrastructures supporting born-digital objects in their collectionsand, in turn, conserve these objects considering their external dependencies? In the conservation ofborn-digital objects such as web artefacts, software and other computer-based media, substantialefforts have been made to mitigate the risks of obsolescence (Falcão 2011-12) and manage changeonce these industrial components do, inevitably, become unsupported (Engel & Phillips 2019;Laurenson 2006). However, the conservation of various infrastructures that underpin, but arefundamentally external to, these objects remains poorly understood, making their inter-relationalidentity difficult to sustain in the museum environment. My research project fills this gap byaddressing the conservation needs of born-digital objects not only in terms of their material bodyand encoded environment, components which are most often subject to intervention (Guez et al.2017; Rechert et al. 2013-2017), but also their technological and knowledge infrastructures, or their"stack"-a term originally used in computing to denote the infrastructural layers supporting theexecution of software. Operating at the intersection of technical art history, conservation and mediaarchaeology, my research will (1) develop a theoretical framework on the "stack" as a supportsystem that combines proprietary technology and its communities of users; (2) expand on existingsoftware-based art conservation techniques-including code migration, reverse engineering,decompilation, disk imaging and emulation/virtualisation-using the above framework; (3) applyand evaluate these critically informed techniques based on four case studies from the Victoria &