The complexity of socio-technical systems in artistic production involving digital technology, especially in the performing arts, challenges digital curation models with a potential shift from cycles to networks. We argue that digital curation models need to develop in parallel to interdisciplinary investigations of these systems. These investigations question the conceptual separation of curation stages as well as roles. In this paper, we build on previous curation projects for new media arts and on the historical analysis of a specific work of contemporary music with live electronics to propose future directions for the integration of curation practices, artistic practices and digital curation models.

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Proceedings of the 12th International Conference on Digital Preservation

School of Information and Library Science, University of North Carolina at Chapel Hill