Virtualisation as a Tool for the Conservation of Software-Based Artworks
Tate has a small but growing collection of software-based artworks. From the outset basic preservation procedures, like testing equipment, backing up hard-drives and assets or thoroughly documenting the hardware and software were put in place, but it was clear that these procedures would need revising over time and as our experience grew. Tate’s earliest softwarebased artwork was created in 2003 and after 10 years the issues around aging technologies are becoming more obvious and new strategies for preservation are more urgently needed. The number of artworks being acquired and displayed is increasing and therefore better workflows must be developed to accommodate this increase.

This paper describes a short project to scope the use of virtualisation for preserving software-based artworks in Tate’s Collection. It briefly explains the tests performed, in terms of the techniques, resources and expertise involved. Through the tests it was confirmed that virtualisation is a viable strategy for the preservation of software-based artworks, and that it meets our requirement that the artworks be stored as a complete system independent from the original hardware. It was also a main requirement that different virtualisation tools must support the resulting virtual machines. As a conclusion, the workflow currently being developed for the preservation of Tate’s softwarebased artworks will be outlined.
["Falcão, Patrícia", "Ashe, Alistair", "Jones, Brian"]
["software-based art", "computer-based art", "born-digital artworks", "virtualisation", "digital preservation", "long-term access", "museums"]