Is the pervasive display of digital icons and graphical images in the
cyberspace is where the reality of an art museum stops and digital art
and digital media begins? Will an exclusive digital media museum
segregates existing art aficionados from the techno-art aficionados
despite all diversity and backgrounds? How will the current generation
of digital art progresses into digital-antiques? If so, will
current auction houses accept this art form or will it naturally evolve
into the making of the digital-auction-houses-of-the-future?
These are the immediate concerns of the author who straddles between
fine arts and technology. While preservation and conservation will no
longer be an important issue for digital media, there are other difficulties
and new issues arise from cradling this new medium.
This paper examines the necessity of building a real world media
museum exclusively to collect and exhibit digital artworks.
It defines and categorizes digital medium, surveys and asserts fundamentals,
highlights the issues involved in building such a museum from its
conceptualization, design to implementation as it questions the architectural
prerequisites, uniqueness and functional infrastructure. By an unprecedented
categorization of the digital medium, it discusses the qualification
of the curatorial jurisdiction, art critic and the quantification
of the acquisition and valuation of the digital artworks.
From previews to reviews, from the exhibits layout to the can't-do-without
hardcopy art catalog, this paper discusses the nature and matters
of staging a digital media museum, its Web presence and its relation
to digital art events. It delineates between binary space and real
world space as it encapsulates the digital medium in a real world
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