摘要：In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital （or ＂variable media＂） artworks for the future benefit of culture, with particular reference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, and philosophers involved in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape-marked by the centrality of digital technologies to everyday life-problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger.

摘要：This paper explores the key vocabularies, themes, ideas, artistic movements, and technological innovations contributing to the development of the digital arts over time. As new media theorists have argued, one of the defining features of the digital arts is the break-down of divisions between art forms, and between art and society （for example, Manovich 2001, 2005）. This paper outlines how digital processes intersect with aesthetic and conceptual forms. Relevant frameworks, such as materiality, embodiment, hybridity, interactivity, and narrativity, form the origins of the genre. Digital artworks, like digital media, are interactive, participatory, dynamic, and customizable, incorporating shifting data flows and real-time user inputs （Paul 2003, 67）. The customization of content and technology, as well as the recontextualization of information, characterize projects of digital art.

摘要：The purpose of this article is to develop the concept ＂botanical memory＂ through an analysis of interviews conducted with indigenous plant enthusiasts in the biodiverse Southwest corner of Western Australia. The topic of this article can be described as memory-based studies of plant diversity or botanically-focused oral histories; and the method is ethnographic. Attending to the everyday practices constituting botanical memory, the article posits a material-affective framework to foreground the dynamics between plants, people, objects, and remembrance. The writings of Henry David Thoreau and C. Nadia Seremetakis, in conjunction with affect and materiality theory, offer conceptual anchor points for this exploration of human recollection and flora. The interviews indicate that plant-based objects and living plants deepen human memory, particularly through their appeal to touch, taste, smell, and sensation.

摘要：布罗德博物馆由两位慈善家Eli和Edythe Broad共同创办,地址位于洛杉矶市中心格兰德大道(Grand Avenue),是一家新型的当代艺术博物馆,于2015年9月正式对外开放。该博物馆普通门票免费,拥有两千件布鲁德夫妇艺术藏品,包括世界上最著名的战后艺术作品与当代艺术作品。该馆还推出了一个轮换举办临时展览的活动项目,鼓励有创新精神的观众参与。该建筑占地12万平方英尺,拥有两层画廊空间,布罗德艺术基金会全球公共图书馆总部正位于此处。自1984年以来,该图书馆一直主动向世界各地的博物馆出借藏品。自2015年对外开放以来,布罗德博物馆已累计接待游客170多万人次,被誉为洛杉矶市中心城市化的催化剂。

摘要：一个数学名词会和一座建筑产生怎样的关系？当你看到KLEIN BOTTLE HOUSE后，便会恍然大悟，KLEIN BOTTLE HOUSE不仅仅是利用了KLEIN BOTTL这个数学名词，