Page 155 - Fundação MEO - Net Arte no Triângulo das Bermudas

BIBLIOGRAFIA

www.
Barok, Dušan, Julie Boschat Thorez, Annet Dekker, David Guggenheim Blogs, 23 de outubro, 2016. www.
Gauthier e Claudia Röck. 2019. “Archiving Complex guggenheim.org/blogs/check-list/how-the-
guggenheim.org/blogs/check-list/how-the-
Digital Artworks.” Journal of the Institute guggenheim-and-nyu-are-conserving-computer-
guggenheim-and-nyu-are-conserving-computer-
based-art-part-1
of Conservation 42 (2): 94–113. DOI: based-art-part-1.
10.1080/19455224.2019.1604398
Engel, Deena e Glenn Wharton. 2014. “Reading between the
Bhowmik, Samir. 2019. “Thermocultures of Memory.” Lines: Source Code Documentation as a Conservation
Culture Machine 17: 1–20. Strategy for Software-based Art.” Studies in
Black, Patricia. 2020.“Can ‘Mouchette’ Be Conservation 59 (6): 404–15.
www.li-ma.
Preserved as an Identity?.” LIMA, www.li-ma.
nl/ lima/sites/default/files/LIMA_Can%20
nl/ lima/sites/default/files/LIMA_Can%20 Engel, Deena e Glenn Wharton. 2017. “Managing
%E2%80%9CMouchette%E2%80%9D%20be%20 Contemporary Art Documentation in Museums and Special
%E2%80%9CMouchette%E2%80%9D%20be%20
Collections.” Art Documentation Journal
preserved%20as%20an%20identity.pdf.
preserved%20as%20an%20identity.pdf
of the Art Libraries Society of North
Cubitt, Sean. 2016. Finite Media: Environmental America (2) (Fall 2017): 293–311.
Implications of Digital Technologies.
Durham: Duke University Press. Engel, Deena, Laura Hinkson, Joanna Phillips e Marion
Thain. 2018. “Reconstructing Brandon (1998–1999):
Dekker, Annet, ed. 2010. Archive 2020: Sustainable A Cross-Disciplinary Digital Humanities Study of Shu Lea
Archiving of Born Digital Cultural Cheang’s Early Web Artwork.” Digital Humanities
Content. Amesterdão:Virtueel Platform. Quarterly 12 (2). www.digitalhumanities.org/
www.digitalhumanities.org/
dhq/vol/12/2/000379/000379.html
dhq/vol/12/2/000379/000379.html
Dekker, Annet. 2011. “How to Be Pink and Conceptual at the
Same Time. Annet Dekker in Conversation with Martine Fitzpatrick, Kathleen. 2011. Planned Obsolescence:
Neddam.” Em Because I’m an Artist Too. . . ., Publishing,Technology, and the Future
editado por Annet Dekker e Martine Neddam. Amesterdão: of the Academy. Nova Iorque: New York University
SKOR Foundation for Art and Public Domain, pp 22–5. Press.
Dekker, Annet. 2012. “Composting the Net. An Interview Fuller, Matthew. 2019. “Inhabiting High Density Realities,
with Shu Lea Cheang.” SKOR NetArtWorks, on Shu Lea Cheang’s Artistic Language.” Em 3x3x6
http://aaaan.net/
28 de maio, 2012. http://aaaan.net/ Shu Lea Cheang, editado por Paul B. Preciado.
shu-lea-cheang-composting-the-net/. Taipei:Taipei Fine Arts Museum, pp.15–68.
shu-lea-cheang-composting-the-net/
Dekker, Annet. 2015. “Networks of Care, or How Museums Gabrys, Jennifer. 2011. Digital Rubbish. Ann Arbor,
Will No Longer Be the Sole Caretakers of Art.” Em MI: University of Michigan Press.
DRHA2014 Conference, editado por Anastasios
Maragiannis. Londres: University of Greenwich, pp 81–5. Harrison, Rodney. 2015.“Beyond ‘Natural’ and ‘Cultural’
Heritage: Towards an Ontological Politics of Heritage
Dekker, Annet. 2018. Collecting and Conserving in the Age of the Anthropocene.” Heritage and
Net Art. Moving Beyond Conventional Society 8 (1) (2015): 24–42.
Methods. Londres: Routledge.
Ho,Yin. 2012.“Shu Lea Cheang on Brandon.”
https://
Dekker, Annet. 2022. “Curatorial Perspectives on Collecting Rhizome, 10 de maio, 2012. https://
Time-Based Media Art.” Em Time-Based Media rhizome.org/editorial/2012/may/10/
rhizome.org/editorial/2012/may/10/
Art Handbook, editado por Deena Engel e Joanna shu-lea-cheang-on-brandon/
shu-lea-cheang-on-brandon/
Phillips. Londres: Routledge.
Hodge, Gail. 2000. “Best Practices for Digital Archiving: An
Dekker, Annet e Patricia Falcão. 2017. “Interdisciplinary Information Life Cycle Approach.” D-Lib Magazine 6
Discussions about the Conservation of Software-Based (1). www.dlib.org/dlib/january00/01hodge.html.
www.dlib.org/dlib/january00/01hodge.html
Art. Community of Practice on Software-Based Art.”
PERICLES, 31 de março, 2017. Hui, Yuk e Harry Halpin. 2013.“Collective Individuation: The
Future of the Social Web.” Em Unlike Us Reader.
Deleuze, Gilles e Félix Guattari. 2007 [1980]. Mil Social Media Monopolies and Their
Planaltos. Trad. Rafael Godinho. Lisboa: Assírio & Alternatives. INC Reader 8, editado por Geert
Alvim. Lovink e Miriam Rasch. Amesterdão: Institute of Network
Cultures, pp 103–16.
Depocas, Alain, Jon Ippolito e Caitlin Jones, eds. 2003.
Permanence through Change: The Kagan, Sacha. 2011. Art and Sustainability.
Variable Media Approach. Nova Iorque: The Connecting Patterns for a Culture of
Solomon R. Guggenheim Foundation & Montreal: Daniel Complexity. Bielefeld:Transcript Verlag.
Langlois Foundation for Art, Science and Technology.
Laurenson, Pip e Vivian van Saaze. 2014. “Collecting
De Silva, Megan e Jane Henderson. 2011.“Sustainability Performance-based Art: New Challenges and
in Conservation Practice.” Journal of the Shifting Perspectives.” In Performativity
Institute of Conservation 34 (1): 5–15. in the Gallery: Staging Interactive
Encounters, edited by Outi Remes, Laura MacCulloch
de Wild, Karin. 2019. “Internet Art and Agency.The Social e Marika Leino. Berna: Peter Lang, pp 27–41.
Lives of Online Art.” Tese de doutoramento, University of
Dundee. Mol, Annemarie. 2008[2006]. The Logic of Care.
Health and the Problem of Patient
Dover, Caitlin. 2016. How the Guggenheim and NYU Choice, traduzido por Peek Language Service e pela
Are Conserving Computer-Based Art – Part 1.” autora. Londres/Nova Iorque: Routledge.
155
Annet Dekker
Annet Dekker