readme-es.po

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#: readme.md:block 1 (header)
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"Best practices for conservation of media art from an artist’s perspective"
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#: readme.md:block 2 (paragraph)
msgid "[RAFAEL LOZANO-HEMMER](http://lozano-hemmer.com) · SEPTEMBER 28, 2015"
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#: readme.md:block 3 (paragraph)
msgid ""
"![](https://www.lozano-"
"hemmer.com/image_sets/33_questions_per_minute/monterrey_2019/33_questions_per_minute_monterrey_2019_my_505A7543.jpg)"
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#: readme.md:block 4 (paragraph)
msgid "Dear colleague,"
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#: readme.md:block 5 (paragraph)
msgid ""
"For most artists I know “Art conservation” is a troubling affair: we are "
"already too busy maintaining operations as it is, we think of our work as a "
"“living” entity not as a fossil, we are often unsure if a project is "
"finished, we snub techniques that may help us document, organize or account "
"for our work as something that stifles our experimentation and creative "
"process. In addition, especially when we are resentful that institutions are"
" not collecting and preserving our work in the first place, we reject the "
"whole concept of an Art collection, —agreeing with critical historians for "
"whom collecting and preserving contemporary Art represents an obsessive-"
"compulsive vampiric culture of suspended animation and speculation that is "
"grounded in a neo-colonial, ostentatious, identitarian drive: Nietzsche’s "
"“will to power” mixed with Macpherson’s “possessive individualism”."
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#: readme.md:block 6 (paragraph)
msgid ""
"For this text let’s assume you are already at peace with the contradiction "
"that is conservation: you are now interested in both creating the work and "
"overseeing its death or zombiefication. Perhaps despite being a staunch "
"democratic socialist you now have your own Art collection. Or maybe you have"
" met a few collectors who take risks with you, acquire your work and help "
"keep your studio afloat financially. Most importantly, especially if you are"
" an insecure megalomaniac like me, you don’t want to disappear from history "
"like so many great artists who are not collected by important Museums."
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#: readme.md:block 7 (paragraph)
msgid ""
"So here we are, thinking about the topic of conservation in media art. As "
"you know, there is a plethora of existing initiatives to preserve media "
"artworks, but these are always from the perspective of the institutions that"
" collect them. While most institutional programs include excellent artist-"
"oriented components like interviews and questionnaires, the programs are all"
" *a posteriori*, almost forensic, as they look at the work in retrospect, as"
" a snapshot of time."
msgstr ""

#: readme.md:block 8 (paragraph)
msgid ""
"This text is written to outline what artists may choose to do on the subject"
" in order to i) simplify our life in the long run, ii) generate income, and "
"iiii) take ownership of the way our work will be presented in the future. I "
"welcome variations, additions and comments. Yes, it is absolutely unfair for"
" the artist to have to worry about conservation of their work. Now let’s get"
" on with it."
msgstr ""

#: readme.md:block 9 (header)
msgid "BEFORE MAKING"
msgstr ""

#: readme.md:block 10 (unordered list)
msgid ""
"Mistrust anyone who has a “method” for conservation of Media Art. Anyone, "
"such as myself, who offers a set of rules is someone who is not considering "
"the vast range of disparate experiences, methods, constraints and "
"dependencies that can arise even within the work of a single artist. All we "
"can do is suggest a bunch of tips, wait for an artist to prove those tips "
"useless, and then review the tips."
msgstr ""

#: readme.md:block 10 (unordered list)
msgid ""
"Study instruction-based art, in particular Moholy-Nagy “Construction in "
"Enamel 2”, his 1923 painting reportedly ordered over the telephone, and then"
" study the instructions of established artists who pushed and are pushing "
"the boundaries of the art of instructions like Sol LeWitt, Felix González "
"Torres and Tino Seghal. Citing these precedents, and Duchamp of course, will"
" immediately relax the concerns that may arise with your own work’s "
"materiality because this discussion already has been happening in the "
"artworld for a hundred years."
msgstr ""

#: readme.md:block 10 (unordered list)
msgid ""
"Study precedents of technological art. I find that underlining connections "
"between my work with historical experimental traditions is much more "
"productive (and honest) than pretending what I do is “new”. Quote meaningful"
" precedents that allow the collector to contextualize your work. For "
"example, I often cite the pioneering use of radio broadcast technology by "
"the Estridentista poets in Mexico in the 1920s, or the first use of neon "
"lighting by Gyulia Kosice in 1946, or the first use of a live video feed in "
"art installation by Marta Minujín in 1965 (50 years ago! How can we pretend "
"what we do is “new” media?)."
msgstr ""

#: readme.md:block 10 (unordered list)
msgid ""
"Decide if the work you are about to make will be a one-off ephemeral "
"performance, a computer virus that is meant to multiply in ways you cannot "
"control, a happening that is so site- and time- specific that it can never "
"be owned, restaged or reproduced. If you decide this is the case then do not"
" ever think about conservation, not once, and work with reckless abandon "
"with the certainty that the death of your creation may be the highest form "
"of beauty and experience. Some voyeur, flâneur, dilettante, opportuniste (or"
" other person who can be described with a French word) will try to capture "
"your piece and sell it or get a PhD, but really all that does is say “you "
"had to be there”. If on the other hand you are interested in conserving the "
"specific work you are making right now then read on."
msgstr ""

#: readme.md:block 11 (header)
msgid "WHILE MAKING"
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#: readme.md:block 12 (unordered list)
msgid ""
"Keep a notebook and/or electronic document where you put any sketches, "
"prototypes, parts lists, bits of research on the project."
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#: readme.md:block 12 (unordered list)
msgid ""
"Work in any development platform you feel is best for the project or for "
"you, but if you have a choice always go for open source tools. At my studio "
"we have often used closed commercial systems, such as “FaceAPI” for face "
"recognition and “Shout3D” a proprietary online 3D API, only for the "
"companies to go bankrupt or orphan the software leaving us with the task to "
"re-engineer the work with more open equivalents (OpenCV in one case and "
"Google Earth in the other)."
msgstr ""

#: readme.md:block 12 (unordered list)
msgid ""
"Consider using versioning systems, like Git. These allow your software "
"projects to be traceable incrementally and they are a great repository for "
"fundamental information on how a project evolves. Of course code can and "
"should have comments to help follow the code, but Git gives conservators a "
"more global view. In my studio we are only now starting to use Git but I "
"really wish we had started earlier. Versioning is important also in "
"schematics, prototypes and manuals. In fact the whole idea of Versioning can"
" be applied to the artwork itself as suggested in the next section."
msgstr ""

#: readme.md:block 12 (unordered list)
msgid ""
"Your software is your “score”, the fundamental instructions that create your"
" work, so back it up! At my studio we have a less than stellar system, which"
" is basically a central repository of files in a drive which gets mirrored "
"to an identical drive that is offsite. I also run Apple’s time machine in my"
" laptop to two drives: one at the studio and one at home. I do recommend a "
"cloud-based solution as it can scale up, is (almost) always available and is"
" cost-effective; however, you do need to feel comfortable that a corporation"
" has your data (they always do anyhow) and that you can continue paying "
"monthly fees, which is a big if. Some Museums are starting to have dedicated"
" servers to hold all of their software collections, in the future all "
"Museums will have to have this kind of data repository and conservation will"
" be very linked to IT. If you keep your own server with all your data this "
"may eventually also be co-located at a place for archives such as a "
"particularly forward-looking library."
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#: readme.md:block 12 (unordered list)
msgid ""
"As you work, say on a complex installation with hardware, software, "
"manufactured and found components, prepare a “Bill of materials” (BoM), "
"which is basically a list of all components of a piece. List each separate "
"component, writing its brand and model, its function, the URL for "
"information, and a small picture."
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#: readme.md:block 12 (unordered list)
msgid ""
"Next to each item in your BoM, write whether the element is replaceable or "
"irreplaceable. An irreplaceable element is for example a Nixie tube that you"
" feel is crucial to the look or functioning of the final piece. If future "
"conservators can’t find an exact replacement the piece should have an "
"honourable death. A replaceable element is everything else; but for every "
"replaceable element there should be notes on what is acceptable, e.g. “this "
"motor can have any specification so long as it fits in the cavity and it can"
" spin the mechanism 5 times a second” or “this screen can be any CRT, LCD, "
"LED, OLED or other technology provided it is between 15 and 17 inch "
"diagonal, has a brightness of around 500 nits and can show XGA resolution” "
"or “this cover is made of acrylic but it can be changed for glass so long as"
" it is tempered and can stand the vibration, please do not use polycarbonate"
" as that is not transparent enough”."
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#: readme.md:block 12 (unordered list)
msgid ""
"When choosing hardware, try to limit any moving parts as much as possible, "
"these are the parts that tend to fail most over time. An example is using "
"solid state rather than spinning platter hard disks or heat sink cooling "
"instead of fans. Another example is using a solid-state relay instead of a "
"contact switch. A final example is choosing a wide-angle camera with virtual"
" pan and tilt using region of interest rather than a motorized pan/tilt "
"camera."
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#: readme.md:block 12 (unordered list)
msgid ""
"If you have a choice, use “off the shelf” components that are abundant. At "
"my studio we developed our own computer vision tracking systems using "
"industrial cameras for 15 years but now we have moved to Microsoft Kinect2 "
"whenever possible as these are readily available. Another example is "
"microcontrollers, as my studio now mostly develops with Arduinos, which are "
"widespread, open and friendly. Your own developed systems of course should "
"be used if they deliver better results, but then you need to document those "
"appropriately."
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#: readme.md:block 12 (unordered list)
msgid ""
"Make global choices in your procurement. For example, choose gear that can "
"function in a range of voltages 100-240V ideally with auto-switching "
"circuitry; or if you are Canadian never use Robertson screws despite how "
"great they are, as no one outside of our proud country has drill bits for "
"this screw head. All your measurements should be metric and all your notes "
"in English (yeah, I said that)."
msgstr ""

#: readme.md:block 12 (unordered list)
msgid ""
"Program an “Idle mode” and/or an automatic shutdown for your piece. "
"Collectors sometimes just leave a piece operating while they go on a holiday"
" for two months. You need to detect if no one has interacted with the piece "
"for a certain time for it to go into an Idle state that stops or slows down "
"motors, shuts down or dims displays, and in general protects the piece. An "
"auto shutdown is another way to save the piece unnecessary cycles, but "
"ensure that you have a programmable power bar so that all hardware is turned"
" off in the right sequence."
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#: readme.md:block 13 (header)
msgid "AFTER MAKING"
msgstr ""

#: readme.md:block 14 (unordered list)
msgid ""
"Make a video of the project, ideally with you speaking over it and "
"explaining proper functioning. If you are shy then get someone to interview "
"you."
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#: readme.md:block 14 (unordered list)
msgid ""
"Install the project in a variety of computers, operating systems and/or "
"devices and test for any SW or HW dependencies. Note these very carefully in"
" a “Read Me” document that is in a way a version of the BoM for hardware. "
"Bundle the Read Me file with installers for every single item in the list. "
"For example include operating system, DirectX, any graphics drivers, APIs, "
"programming environments, etc."
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#: readme.md:block 14 (unordered list)
msgid ""
"Prepare one or several flash drives with all the source code for your "
"project, including firmware, binaries, media assets, schematics, 3D print "
"files, EVERYTHING. Then add all the installers for the dependencies from the"
" previous point. These flash drives are meant to be like a time capsule that"
" hold all the instructions required to reproduce the work. Do include a "
"document that explains that they should make a backup copy of the contents "
"of the flash drive and ensure the integrity of the data from time to time."
msgstr ""

#: readme.md:block 14 (unordered list)
msgid ""
"Write a manual with the following parts: i) a “meta” narrative describing "
"the key concepts and elements of the piece and how it works; ii) a detailed "
"set-up procedure, including pictures of example installations, wiring "
"diagrams, museographic notes such as desired lighting or acoustic "
"conditions, sample layouts showing what is and is not allowed; iii) "
"maintenance section on how to clean the piece and turn it on and off; iv) "
"preservation section with the Bill of materials, all schematics, comments to"
" the code."
msgstr ""

#: readme.md:block 14 (unordered list)
msgid ""
"Set your computers to perform uninterrupted for a long time. Ensure you are "
"not defeating fans so it is cooled properly, no screen savers, disable "
"automatic software updates for operating system and java for example, no "
"virus checkers, monitor temperature inside boxes or enclosures, stop all "
"notifications, stop all login passwords, etc."
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#: readme.md:block 14 (unordered list)
msgid ""
"Prepare a toolkit with any drill bits, special tools, adapters and with "
"spares of components that you think are most hard to come by."
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#: readme.md:block 15 (header)
msgid "DEALING WITH A COLLECTOR"
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#: readme.md:block 16 (unordered list)
msgid ""
"Take the video, the flash drives, the manual, the toolkit and the spares and"
" make a BOX. Give the box to the collector explaining how important it is "
"and warn them that replacing it will cost $750 (or choose a number that is "
"profitable). Many collectors will quickly lose this box. When they come to "
"you asking for a replacement make a buck for godsakes."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Explain the concept of digital copy to your collector. Most do not "
"understand that an original file is identical to a copy. And if they do, "
"they are so completely absorbed with the aura of authenticity that I have "
"heard of artists having to destroy a digital file once they print copies of "
"a digital picture. This is absolutely absurd and unnecessary for work like "
"mine (and yours). If a collector buys an image from me I want to give her "
"the Tiff file with colour looking tables and printing instructions so that "
"she can reproduce the work in the future when the UV rays wash the colours "
"out or when a child takes a knife to the image. So long as you copy the data"
" from the flash drive onto other future media, as USB dies, the work that "
"you own will be perfectly reproducible, like the instructions of a Sol "
"LeWitt or a Gonzalez-Torres. In this sense, digital prints are orders of "
"magnitude easier to preserve than any other print."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Once the collector understands that they have the digital files needed to "
"reproduce most or all of the work they might panic asking how their "
"investment is protected from reckless reproduction. The answer is centuries "
"old: with a signature. For each of my pieces I give a certificate of "
"authenticity that is the tradable commodity of my work. In my case, the "
"certificate is an A5-sized doubly anodized aluminium ingot that shows the "
"details and picture of the work. I sign the certificate by hand, adding the "
"edition number. The certificate is also engraved with our studio numbering "
"system, has three digital watermarks and soon it will also have a blockchain"
" unique signature. This is what you keep in the safety deposit box as it is "
"completely irreproducible. If you do not have this certificate the piece you"
" have is completely worthless. This certification system is retroactive, and"
" we are slowly giving one of these for each piece acquired in the past. "
"Running a personal certification system also has the side benefit of "
"protecting you from potential fraud from gallerists or intermediaries who "
"may be reproducing your work behind your back. This has not happened to me "
"but I have heard many stories. Another benefit of personal certification is "
"that if the collector does not pay you in full you simply do not hand-over "
"the certificate. He or she may have the work after paying an advance, but "
"the purchase is not complete until the work is fully paid and the collector "
"is in possession of the unique certificate."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Unless the piece is very simple, the price of acquisition of a work should "
"include an honorarium for you or a technician to help with installing the "
"work on site (what is not included in the acquisition price is the flight, "
"accommodation and per diem for you or the technician). Make it clear to the "
"collector that their installers need to follow your instructions on how to "
"hang the work physically, run the wires and provide electricity. You cannot "
"do those things because you are not insured. You are there only to supervise"
" and to calibrate the system."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Once you or your technician calibrate the work, show it to the collector, "
"teach them how to turn it on and off and clean it. Then ask them who you "
"should train for a full technical run through of the piece, e.g. the "
"collector herself if she is nerdy, her installer, the IT department, the "
"conservator of the collection, etc. Do a complete walk through of the work "
"with this person and show them the manuals, spare parts, and so on. This "
"person will be the first one that the collector will go to when the work "
"malfunctions so he or she is very important for your own peace of mind. Once"
" you have trained the collector and the technical person, make them sign a "
"document that simply says that the work has been installed to their liking, "
"that they received training on the operation, maintenance and preservation "
"of the piece."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Install VNC or, better, LogMeIn and explain how you can log in remotely to "
"fix problems if needed. Show the collector how to disconnect the piece to "
"the net if they want privacy. Depending on how fancy the work is, you can "
"consider also using networked power bars to cycle the power remotely if "
"necessary."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Have the collector install surge protection and grounding to the power that "
"is supplied to the piece. Many problems we have seen throughout the years "
"come from bad power: fixing a burnt transformer is often a tedious and "
"expensive job and often the circuitry is also affected."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Talk about maintenance. To the best of your ability give a specific Mean "
"Time Between Failure (MTBF) estimate, which is basically the time it will "
"take for components to break, on average. For example if the piece has a "
"projector quote the number of hours that it will work for before a bulb "
"needs to be changed and specify how much that will cost to replace. I "
"typically use two metaphors to explain maintenance on a media artwork, "
"depending on the collector and situation: 1) The artwork is like a car, —you"
" should drive it from time to time, change the oil and tune it, but the more"
" you drive it the more it will it cost to preserve; and 2) The work is like "
"a fountain, —you have a capital investment but then there is a maintenance "
"budget for changing rusty valves, chlorinating the water, etc."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Talk about warranty. You should let the collector know about whatever "
"warranty there is on the individual components of the piece, for example a "
"computer usually has a 1-year warranty. But you should under no "
"circumstances guarantee that the work will function a given amount of time. "
"You are not a corporation, you do not control the conditions of the "
"exhibition or the handling of the piece after you depart. The spirit of "
"giving the collector all schematics, software and code, plus the training, "
"spare parts and manuals, is that you are now delegating conservation to his "
"or her collection. When the collector is uncomfortable about the lack of "
"warranty clarify the technical support you are willing to give."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Providing technical support can be a nightmare in Media Art. Not providing "
"it is even worse. If a piece fails the collector needs to know exactly who "
"to call and have a support network. If they don’t it is possible they will "
"never invest in media art again. Often artists make networks that include "
"their galleries, trusted technicians or AV companies. In our case here is "
"what we ask the collectors to do in case of failure:"
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"i) Read the manual. Over 95% of failures are something simple like a power "
"cable that is not nestled in fully."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"ii) Contact the installer who was trained by you or your technician, he or "
"she should be able to troubleshoot at a higher level."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid "iii) Contact the gallery in case they have a technician who can help."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"iv) Call or email my studio and we will try to fix the problem remotely for "
"free, over the phone and remote login if available."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"v) If the problem is not solved, we are happy to go on site to solve it. The"
" costs are: return flight for you or the technician to go to the city, "
"accommodation and per diem, any parts that needed replacement, and $750, or "
"some other daily fee you establish, for honorarium. Please note a travel day"
" is charged at half the daily rate. It is my experience that collectors "
"rather get direct support from the artist studio even if that may be costly."
" This money helps the studio maintain operations and instead of technical "
"support being a nightmare it is now a source of income."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Provide a migration path and explain versioning for artwork. When collectors"
" acquire a media artwork they need to know they are getting an “event-based”"
" living piece that is closer to a performing arts commission than a "
"traditional visual artwork. Many conservators understandably cringe at the "
"possibility of an artwork changing over time, but that is exactly what Media"
" Art should aspire to do. In an epic conversation with Tate expert and "
"friend Pip Laurenson, I realized that what she was after was completely "
"different but not entirely incompatible with what I envisioned. Tate "
"acquired my work “Subtitled Public” made in 2005. In this work you enter an "
"empty room, are tracked by computerized surveillance, and a random verb is "
"projected on your body which follows you everywhere, —the only way to get "
"rid of the word is to touch somebody and exchange words with him or her. The"
" project was written in Delphi, using firewire cameras, IR illuminators and "
"XGA projectors. Using an impressive and comprehensive method Pip ensured "
"that the piece that is at Tate can be performed using these original "
"technologies, giving the public a snapshot of what computerized tracking was"
" like in 2005. So far so good. Ten years later there are hardly any Delphi "
"programmers, firewire is dead, projectors now have over 10x the pixel "
"resolution and Kinect2 tracking is orders of magnitude faster, more accurate"
" and easier to install. I am now planning a migration path for “Subtitled "
"Public” to work with these new technologies because this particular project "
"is not about the specific tracking and projection used but about the "
"experience of words branding the public. I am eager to see the project in a "
"second version because the experience will be more ominous. The cost for "
"this migration is relatively low, especially if you consider that you would "
"not need to stockpile older gear or interpret Delphi code. Versioning is "
"almost as if a collector buys a piece of software for an initial amount, "
"then the artist improves this over time (in a way the artist provides a "
"Conservation path for the artwork) and charges a small upgrade fee. Like in "
"industry, versioning can also be a source of income for the studio. Of "
"course in the future Tate can choose to exhibit either version or both. It "
"depends on the show. The key is not to think that both these approaches are "
"mutually exclusive. Obviously, the artist cannot go and offer version 2 to a"
" different collector, a migration is available only to the collector who "
"originally acquired the work."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"Versioning should end with the death of the artist unless you leave specific"
" instructions on what you need your estate to accomplish (like Gonzalez-"
"Torres did)."
msgstr ""

#: readme.md:block 16 (unordered list)
msgid ""
"A collector should be free to decline migrating their piece along the artist"
" or estate suggested path. If in the future the piece is acquired by a "
"different party the new owners can decide to pursue a migration. Should the "
"collector attempt to preserve the work with a migration path that is "
"egregious and not approved by the artist or estate the title of the work "
"will be automatically void and the artist will be able to sell it again (I "
"learnt this from James Turrell’s practice! It so smart: you need to be "
"protected from someone adding or taking away an element to the piece that "
"you did not approve of)."
msgstr ""

#: readme.md:block 17 (header)
msgid "FINAL NOTES"
msgstr ""

#: readme.md:block 18 (unordered list)
msgid ""
"Trust conservators! They are absolutely fundamental for your work to have a "
"future performance. They also have a lot of experience in preserving the "
"most diverse things you can imagine. Establish a dialog with them and work "
"out a migration plan, they tend to be relieved when the artist has thought "
"through these issues. Above all you don’t want the collector to think they "
"are acquiring a future conservation problem (though admittedly every work, "
"even a painting is a future conservation problem)."
msgstr ""

#: readme.md:block 18 (unordered list)
msgid ""
"Trust curators, but not as much as conservators. In the future the curator "
"is the person who will stage your work in a variety of different contexts. "
"Try to explain in your documentation what is and is not possible with the "
"work. Many curators are sadly too rushed to read manuals, which is why you "
"must trust conservators more."
msgstr ""

#: readme.md:block 18 (unordered list)
msgid ""
"Keep a website! For each piece that I have ever made I have a webpage with "
"videos, photos, descriptions, bibliography and most important: the manual "
"for the work in PDF and a list of credits of the people who worked on the "
"project. Giving public credit to engineers, programmers, and other "
"assistants is an honest thing to do but is also a way for future "
"conservators to track projects by different coding styles, for example."
msgstr ""

#: readme.md:block 18 (unordered list)
msgid ""
"This final note is not for everyone, but it is something that makes sense "
"for my work: In my upcoming monographic show in Mexico City’s MUAC Museum we"
" will publish a USB flash drive which will contain absolutely all the source"
" code and schematics of every single artwork on display (there are 42 "
"pieces!). We already have a GitHub account where we share some of our "
"programming to the open source community, but this new idea is designed to "
"be more radical. We want to make software and methods something more "
"dialogical, less precious, more open, more viral. If my servers crash and no"
" museum has backup copies my work will already be in the forks of dozens or "
"hundreds of other projects that other artists-programmers have developed "
"from my studio’s code. Infecting future projects is our new strategy for "
"preservation. To our knowledge this will be the first time that a "
"comprehensive art show will be made available with an open source code."
msgstr ""

#: readme.md:block 19 (paragraph)
msgid "Version 0.9.1"
msgstr ""

#: readme.md:block 20 (paragraph)
msgid ""
"PS. The cover image is “33 Questions per Minute” a piece from 2000 which ran"
" on Windows 98 and was programmed in Delphi. In 2006 MoMA’s acquired the "
"work and used my source code to port it to C++ and run it on Linux, thus "
"proving that stockpiling old PCs was not necessary to assure conservation. "
"That was some next level shit right there and a big relief for all. I have "
"only now found this new initiative from the Museum and I shall look at it "
"closely [http://www.moma.org/explore/inside_out/2015/05/13/open-sourcing-"
"momas-digital-"
"vault/](https://web.archive.org/web/20150805115404/moma.org/explore/inside_out/2015/05/13/open-"
"sourcing-momas-digital-vault/)"
msgstr ""

#: readme.md:block 21 (paragraph)
msgid ""
"PS2. I want to acknowledge the talks I have had with numerous friends and "
"colleagues, most notably my studio assistants and the great Kim Brickley "
"whose interviews helped me put some order to it all; but also Steven Sacks, "
"Patricia Ortiz Monasterio, Zimoun, Daniel Canogar, Pip Laurenson, Glenn "
"Wharton, Christiane Paul, Ben Fino-Radin, Kate Lewis, Sarah Cook, Beryl "
"Graham, Matthew Biederman, Kathleen Forde, Rudolf Frieling, Barbara J. "
"London, Pablo Helguera, Colin Griffiths, Alain Depocas, Jean Gagnon, Abigail"
" Susik, Steve Dietz, Erkki Huhtamo, and other artists, collectors, "
"historians, curators and conservators who like talking about this kind of "
"thing."
msgstr ""

from antimodular/Best-practices-for-conservation-of-media-art#4